Dissertationen zum Thema „Motet“
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1
Hatter, Jane Daphne. „Marian motets in Petrucci's Venetian motet anthologies“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.
Annotation:
Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.
2
Montefu, Jennette Lauren, und res cand@acu edu au. „The Latin Texted Motets of Guillaume de Machaut“. Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.
Annotation:
Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each motet. In this way it was found that many of the previously researched aspects of the motets follow in line with recent theories surrounding motet grouping structures. In this way when placing these works within a mystical theological literary context their sacred nature, evident within the tenor chant fragments upon which many of them are built, becomes evident and a greater plan apparent. Beyond this, with an examination of Machaut’s life and the events which occurred in his lifetime the context for composition of the remaining motets is unearthed. Within these motets elements have now been identified which link them to Machaut’s canonries at both Saint Quentin and Reims as well as the events of the Hundred Years’ War. In this way the deep connection between Machaut’s motets and all levels of his life is becoming increasingly apparent. Through an examination of these six Latin texted motets it is found that a liturgical context is key to the analysis of all voices. This is apparent in the mere use of vocabulary idiomatic to the liturgy present within these texts. In this way the selection of words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21 even closer in context to motets 22-23. This apocalyptic reference is also seen in specific words within in triplum text of motet 22. Furthermore, the Marian allusions discovered throughout these last three motets in their upper voices are apparent only with a close examination of the Salve Regina texts. In this way the influence and importance of liturgical context to the analysis of the motet has been extended to all voices. This study has also uncovered allusions to other fourteenth century works in the analysis of Machaut’s motets. In the case of motet 9 a connection between its chant tenor and another from the Roman de Fauvel reveals a political context which brings an added richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was here and with these two motets that Machaut began his tutelage with the older master of the motet. These conclusions may be drawn by the striking similarities between Machaut’s works and those believed to have originated from within the Vitry circle. In the course of this study there have been additions to evidence the necessity of looking to all aspects of Guillaume de Machaut’s motets in their analysis. This includes use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough exploration of Machaut’s use of vocabulary within his texts to find its literary, historical, motet, and liturgical allusions. The identification of these sources may either serve to reinforce or expand the context of the motet leading to a deeper understanding of its purpose within a group of motets or individually.
3
Bonfield, Stephan. „Mode, text and syntax in selected motets of Cristóbal de Morales“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ34878.pdf.
4
Rusak, Helen Kathryn. „Rhetoric and the motet passion“. Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.
5
Ycard, Sébastien. „L'invention musicale dans le motet du XIIIème siècle“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040273.
Annotation:
Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis figer sur une feuille de parchemin. Dans le cas du motet, le principal questionnement porte sur la possibilité de réaliser une oeuvre polyphonique entièrement mesurée dans laquelle subsiste une, voire plusieurs, trames mélodiques prolongeant le style formulaire des organa. L’analyse musicale permet-elle d’identifier les différents gestes compositionnels du motet ? En d’autres termes, peut-on se faire une idée précise du motet au XIIIe siècle à partir des seules traces écrites les concernant et construire un modèle analytique cohérent de type émique ?L’ambition de cette étude est d’identifier les éléments normatifs du motet au XIIIe siècle et de déterminer, en filigrane, les gestes d’inventivité de chacune des dix pièces analysées. C’est par la mise en place d’une norme, incessamment renouvelée par l’invention musicale, au sens médiéval du terme, qu’il est possible de reconstituer le motet au sein même de son environnement socioculturelSince we are interested in the 13th-century, the motet is the musical example most frequently called to illustrate the rationalization of the medieval thought. Therefore, this one joins with difficulty in the standardized frame of a polyphonic continuity.Nevertheless, the motet is a passage, necessary and passing, between the organum and the contrapuntal polyphony of the 14th-century. The music which ensues from it aggravates the technique of the discant while keeping the melodic originality of every voice.It’s the difficulty appropriate for any median place: preserve, reproduce, modify, to pass on then the congeal on a leaf of parchment. In the case of the motet, the main questioning concerns the possibility of realizing one polyphonic completely measured work in which remains one, even some, melodic wefts extending the “style formulaire” of organa. Does the musical analysis allow to identify the various compositional gestures of the motet? In other words, we can be made a precise idea of the motet at the 13th-century from the only written sources concerning them and to build a coherent emic analytical model?The ambition of this study is to identify the normative elements of the motet in the 13th-century and to determine, between the lines, the gestures of inventiveness of each of ten analyzed parts. It’s by the implementation of a standard, presently renewed by the musical invention, in the medieval sense, that it’s possible to reconstitute the motet within its sociocultural environment
6
Borgerding, Todd Michael. „The motet and Spanish religiosity ca 1550-1610 /“. Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.
7
Brobeck, John Thomas. „The motet at the court of Francis I /“. Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686076.
8
Banks, Jon. „The motet as a formal type in Northern Italy ca 1500 /“. New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961785c.
9
Chiu, Remi. „Motet settings of the Song of Songs ca. 1500-1520“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.
Annotation:
This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.
10
Banks, J. R. M. „The motet as a formal type in northern Italy, ca.1500“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315071.
11
Bazinet, Geneviève. „Pierre Attaingnant's encyclopedia of sacred music: the 1534 -1539 motet series“. Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121309.
Annotation:
Pierre Attaingnant's fourteen-volume Motet Series (1534-1539) was a monumental achievement in music printing, featuring innovative approaches to organisation and far exceeding the four earlier motet series printed by Petrucci, Antico, and Moderne, in terms of size and structure. Part I of my dissertation provides a historical context for the Series. Chapter 1 reviews the early years of François I's reign, the musical establishments at the court, and the King's own interest in music. Chapter 2 outlines the state of the motet in sixteenth-century France, and the beginnings of music printing. I then compare the four "predecessors" to Attaingnant's Series in Chapter 3 and argue that while there was a loose set of conventions for the printed motet series before 1534, many of the features varied from printer to printer and book to book.Part II offers a first look at the Series as a constructed product and examines four primary facets: the format and layout (Chapter 4), the composers, concordances and markets of the Series (Chapter 5), the rubrics (Chapter 6), and the sources of the texts of the motets (Chapter 7). Through a study of the physical aspects of the Series and the various organisational approaches used by Attaingnant (Chapter 4), I illustrate that, in contrast to its predecessors, Attaingnant's Series was remarkably standardised, and designed as a single, cohesive product. The discussion of the sixty named composers (Chapter 5) examines the distribution of the motets among two principal groups of composers (the famous and the little-known), and draws additional ties between the Series and the French royal court. Investigation of the concordances of the motets by these composers reveals a large number of unica, pointing to the importance of the Series for the preservation of repertoire, including the sole surviving works for a handful of composers whom I call the "Attaingnant Composers." Using the concordances for the motets of a single book combined with details of the six surviving copies of the Series, I examine the market for the Series and suggest potential types of owners for these books, from cathedrals to music collectors.I then narrow my focus to a unique feature of the Series, the use of rubrics in book titles and for individual motets (Chapter 6). Rubrics are short Latin phrases that the printer included to identify potential performance occasions for the motets and the subjects of the motet texts; they link the Series to the liturgy and to devotional Books of Hours. Prompted by the ties of the rubrics to the liturgy and Books of Hours, I investigate the context in which the Series was sold in Paris, specifically the shop in the Rue de la Harpe, and explore a long standing connection between Books of Hours and the shop that previously belonged to Philippe Pigouchet, Attaingnant's father-in-law, and one of the premier printers of Books of Hours in Paris. Chapter 7 provides a comprehensive study of the texts of the 281 motets in which I identify the sources for the texts, and show that they were connected both to the liturgy and to Books of Hours. In the final chapter (8), I revisit the issue of the function of the motet in the sixteenth century in light of my findings, and argue that the format, contents, rubrics, and texts of the Series all point to a multi-purpose function for the motet and the Motet Series as a whole.I conclude that the Series, with its mixture of famous and obscure composers, its broad range of Latin texts and its ties to both the liturgy and Books of Hours, is best understood as an encyclopedia of sacred music, one that reflected what was sung in Paris for all to emulate.La série de quatorze volumes de motets par Pierre Attaingnant (1534-1539) fut une réalisation monumentale dans l'impression de la musique, démontrant des approches novatrices dans son organisation et dépassant de loin, en taille et en structure, les quatre séries de motets imprimées plus tôt par Petrucci, Antico et Moderne. La première partie de ma thèse fournit un contexte historique pour la série de motets. Le premier chapitre passe en revue les premières années du règne de François Ier et les institutions de musique à la cour. Le deuxième chapitre décrit l'état du motet en France au XVIe siècle, et les débuts de l'impression de la musique. Je compare ensuite, au troisième chapitre, les quatre «prédécesseurs» à la série d'Attaingnant et soutiens que bien qu'il y avait un ensemble de conventions vagues pour la série de motets imprimée avant 1534, la plupart des caractéristiques variaient d'un imprimeur à l'autre et d'un livre à l'autre. La deuxième partie offre un premier aperçu de la série d'Attaingnant comme un produit construit et examine quatre aspects principaux: le format et la présentation (chapitre 4), les compositeurs, les concordances et les marchés propres à la série (chapitre 5) ainsi que les rubriques (chapitre 6), et les sources des textes des motets (chapitre 7). Par l'entremise d'une étude des aspects physiques de la série et des différentes approches organisationnelles utilisées par Attaingnant (chapitre 4), j'illustre que la série d'Attaingnant était remarquablement standardisée, et conçu comme un produit unique et cohérent. La discussion des soixante compositeurs nommés (chapitre 5) examine la répartition des motets entre deux principaux groupes de compositeurs (le bien connu et le peu connu), et souligne des liens supplémentaires entre la série et la cour royale française. Une étude des concordances des motets de ces compositeurs révèle un grand nombre d'unica, soulignant l'importance de la série pour la préservation du répertoire, y compris les seules œuvres survivantes pour un petit nombre de compositeurs que j'appelle les «Compositeurs Attaingnant». En utilisant les concordances pour les motets d'un seul livre, ainsi que les détails sur les six exemplaires survivants de la série j'examine le marché pour la série et suggère des types probables de propriétaires de ces livres. Je me concentre ensuite sur une caractéristique unique de la série, l'utilisation de rubriques dans les titres de livres et dans les motets individuelles (chapitre 6). Les rubriques sont de courtes phrases latines que l'imprimeur fournit afin d'identifier les occasions possibles de représentation pour les motets et les sujets des textes de motets, elles lient la série à la liturgie et aux livres d'heures. Poussé par les liens des rubriques à la liturgie et livres d'heures, j'étudie le contexte dans lequel la série a été vendue à Paris, plus précisément la boutique de la rue de la Harpe, et j'explore une connexion de longue date entre les livres d'heures et la boutique qui appartenait auparavant à Philippe Pigouchet, beau-père de Pierre Attaingnant, et l'un des imprimeurs principaux de livres d'heures à Paris. Le chapitre 7 fournit une étude approfondie des textes des 281 motets, dans laquelle j'identifie les sources de ces textes, et je démontre que ces textes étaient liés à la fois à la liturgie et aux livres d'heures. Dans le dernier chapitre (8) je revisite la question de la fonction du motet au XVIe siècle à la lumière de mes conclusions, et affirment que le format, le contenu, les rubriques et les textes de la série indiquent une fonction polyvalente pour le motet et la série dans son ensemble. Je conclus que la série de Pierre Attaingnant, avec son mélange de compositeurs célèbres et obscurs, sa large gamme de texte en latin et ses liens à la fois à la liturgie et aux livres d'heures, est mieux comprise comme une encyclopédie de la musique sacrée qui reflète ce qui était chanté à Paris, permettant l'imitation par tous.
12
Rushing-Raynes, Laura. „A history of the Venetian sacred solo motet (c. 1610--1720)“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Annotation:
In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
13
Dahlenburg, Jane Elizabeth. „The motet c.1580-1630 : sacred music based on the Song of Songs /“. Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.
14
Coplestone-Crow, Natasha. „Philippe de Vitry and the development of the early fourteenth-century motet“. Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311732.
15
Saint-Cricq, Gaël. „Formes types dans le motet du XIIIe siècle : étude d’un processus répétitif“. Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/203381/.
Annotation:
Les études musicologiques ont jusqu’ici reconnu une place très restreinte aux structures répétitives dans le motet du XIIIe siècle, renvoyant l’image d’un genre qui se situerait à contre-courant des pratiques compositionnelles de la polyphonie parisienne et des genres monodiques contemporains. Cette étude propose l’analyse du processus compositionnel de vingt-huit motets non seulement fondés sur la répétition, mais qui sont de surcroît bâtis selon les plans formels conventionnels d’une forme type AAX. Le premier chapitre propose une analyse de la complexion répétitive du bloc AA. Le second chapitre rattache cette structure aux pratiques de la polyphonie parisienne et de la monodie profane du XIIIe siècle. Le troisième chapitre mesure l’impact formel de la citation dans la constitution de la forme type AAX. Le quatrième chapitre évalue la possibilité d’un rapprochement entre le motet AAX et les formes de la fin du XIIIe et du XIVe siècles, et notamment la ballade. Enfin, le cinquième chapitre propose l’étude de la transmission de la forme AAX au sein du répertoire du motet du XIIIe siècle.
16
Hehr, Elizabeth. „Le petit motet : étude de cinq manuscrits de la collection De Brossard /“. [Paris] : [E. Hehr], 1994. http://catalogue.bnf.fr/ark:/12148/cb366814634.
17
Hamrick, David (David Russell). „Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279184/.
Annotation:
Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work.
First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists.
Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers.
18
Glysson, Scott Douglas. „An Analysis of Musical Style and Cecilian Idealism in the Latin-Texted Motets of Camille Saint-Saëns“. Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/325233.
Annotation:
The Cecilian movement was a reactionary movement made up of composers who sought to restore the musical principles of the fifteenth and sixteenth centuries by placing emphasis back on the liturgy, reviving the idea that the music should be subservient to the text. In his article "The Cecilian Movement in the Nineteenth Century: A Summary of the Movement," Patrick Liebergen introduces the term "Cecilian Ideal" as a means of describing the way in which Franz Liszt and Anton Bruckner incorporated elements of Cecilianism into their compositions. Though the two composers never belonged to the Cäcilien-Verband für Deutschland, analysis of various style features commonly found in their music reveals that they accomplished many of the goals of the Cecilian movement while retaining their own individual compositional styles. Analysis of the Latin-texted choral motets of Camille Saint-Saëns reveals that they share stylistic features that were endorsed by the Cecilian movement. That these features were a result of conscious decisions made by the composer is suggested by the fact that similar style traits were praised by Saint-Saëns in two articles he wrote about liturgical music that were published near the end of his life. Moreover, Patrick Liebergen already has shown that many of the Saint-Saëns' beliefs can be understood through the application of what he terms the "Cecilian Ideal" concept. The Latin-texted choral motets of Camille Saint-Saëns have largely been overlooked by the scholarly community. Perhaps it is the uncomplicated nature of these pieces that has led many to dismiss them as an unremarkable portion of the composer's repertoire. Six of the Latin choral motets which are the most similar in terms of style and function were chosen for this study, as they best represent the consistent compositional features of the composer in this genre. These works span a fifty-eight year time period covering a broad portion of the composer's life and career. By analyzing Saint-Saëns' liturgical music in the light shed by his prose writings on the subject we can better understand both his compositional style and his view of the Cecilian movement.
19
Getz, Christine Suzanne 1957. „Music and Patronage in Milan 1535-1550 and Vincenzo Ruffo's First Motet Book“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332652/.
Annotation:
The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.
20
Eby, John Douglas. „Francois Giroust (1737-1799)and the late grand motet in French church music“. Thesis, King's College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617028.
Annotation:
The choral music of the French church in the years before the Revolution was more popular than history has recorded, as is witnessed in the large amount of music composed for the nation's cathedrals, and its enduring success at the Concerts Spirituels in Paris and various provincial centres. The chief vehicle for music in the church was not the Mass, but the Grand Motet, a large-scale work for soloists, chorus, and orchestra. As a genre it reached its heights early in the century with Charpentier, Campra, and above all Lalande. Late in the century, it suffered from the stifling popularity of early masters, the declining influence of church and court, and the attraction to major composers of the livelier world of opera. The motet survived until the Revolution, however, and in these late years Fran~ois Giroust was arguably its most important composer, in terms of position, popularity, and productivity. His career and works give us a comprehensive guide to the state of French church music in the second half of the century. Each stage of his career-boy in the choir-school of Notre Dame, maitre of the Cathedral of Orleans, advancement to Paris and the Church of SS Innocents and the Concert Spirituel, ultimate success at the chapel at Versailles, and finally the upheaval of the Revolution--is used to provide the basis for a wider discussion. Among the matters investigated are the training of church musicians, the role of the cathedral maitre, and the place of music in cathedral services; the state of church music in Paris and at Versailles under Louis XVI; and the fate of church music and musicians during the Revolution. A look at the motet through the century, including a discussion of the demands of the court, the influence of secular mus-ie, and the views of the critics, leads finally to a close examination of the motets of Giroust, where such features as style, format, performing resources, and form are dealt with. This is the first critical examination of his music, and what emerges is a motet with which we are not at all familiar. A second volume presents a catalogue of all the known motets of Giroust, including works of questionable attribution. In addition to incipits and performance instructions for all movements, the catalogue includes such details as performers (where mentioned), known first performances, complete orchestration, and timings.
21
Colin, Marie-Alexis. „Eustache Du Caurroy et le motet en France à la fin du XVIe siècle“. Tours, 2001. http://www.theses.fr/2001TOUR2016.
Annotation:
C'est probablement avec les Preces ecclesiasticae, deux volumes de motets imprimés à Paris en 1609, qu' Eustache Du Caurroy (1549-1609) entreprend la publication complète de son oeuvre. Auparavant, seules quelques unes de ses chansons ont été éditées dans des anthologies parisiennes et anversoises. Dans la préface au premier volume, le compositeur justifie la parution tardive de sa production musicale par un souci de perfection qu'il a pu cultiver tout au long d'une carrière consacrée à servir Charles IX, Henri III et Henri IV, notamment comme haute-contre et sous-maître de la chapelle royale. Aujourd'hui, les cinquante-trois motets réunis dans les Preces eclesiasticae représentent les seules compositions de ce genre de musique par Du Caurroy. Leurs textes comme l'écriture musicale qui les caractérisent réflétent les différentes influences auxquelles le compositeur a été soumis. Certains motets montrent de signes de parenté avec les pièces en musique mesurée à l'antique, illustrent un genre cultivé en France depuis les années 1570 et mené à son apogée par Claude Le Jeune, qui partage le titre de "compositeur de la musique de la chambre du roi" avec Du Caurroy. En outre, alors que depuis la mort de Charles IX (1574) les éditeurs de musique ont principalement diffusé des motets de Roland de Lassus, les deux publications de 1609 constituent les rares témoignages de motets composés en France à la fin du XVI e siècle au début du XVIIe siècle, avec les Psalmi Davidici de Guillaume Boni ( 1582) et les choeurs de l'histoire tragique de Sainte-Cécile d'Abraham Blondet (1606). Enfin, les motets de Du Caurroy sont aussi les seuls vestiges de la musique liée à̧ la chapelle royale dont aucune trace du répertoire ne subsiste véritablement depuis la mort de François 1er (1547)
22
Schade, Melody Marchman. „Paratextual frames| A material study of Ottaviano Petrucci's four-voice Venetian motet prints, 1502-1505“. Thesis, State University of New York at Buffalo, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3629842.
Annotation:
This dissertation constitutes a material study of the four-voice motet prints published in Venice by Ottaviano Petrucci between 1502 and 1505. These prints, Motetti A, Motetti de passione de cruce de sacramento de beata virgine et huiusmodi, Motetti C and Motetti Libro Quarto, coincided with a burgeoning silent reading culture that was interested in and attuned to devotional reading—particularly as it was made available through books of hours (horae)—and thus, represented a new opportunity for early sixteenth-century singers, readers, and collectors. This dissertation considers how the relationship between motet print, reader and horae might have encouraged a devotional attitude from readers and singers of these volumes.
Chapter 1 considers horae, late medieval reading practice, and the intertwined relationship between reading and prayer. Many of the material aspects of the prints—especially size and mise-en-page ("page layout")—are similar to those of contemporaneous books of hours (horae) and their likeness might have encouraged a reading posture that resonated with devotional reading. Additionally, pictorial evidence is presented that suggests that by the mid-sixteenth century at least one family may have considered printed music in this manner.
Chapter 2 takes the page as a formal starting point and, building upon the work of Gérard Genette and Bonnie Mak, extends the discussion of materiality to considerations of paratexts. Here, a nuanced reading of the mise-en-page, which considers the page layout, typeface, musical font, and table of contents (tavolae), reveals a web of intellectual and devotional associations available to a contemporary reader of Petrucci's four-voice Venetian motet prints.
Chapter 3 explores the relationship between the page and the music-making that the page enabled and considers these through a study of a uniquely musical paratext—the fermata. Analytic apparatus advanced by both Robert Hatten and Bonnie Blackburn reveals that the concept of markedness as it relates to the visual, oral, and aural aspects of the page allows for all the elements of the page to coalesce in a manner uniquely familiar and meaningful to the devotionally attuned reader/singer of Petrucci's prints.
In analyzing the material and paratextual features of Petrucci's motet prints, this dissertation engages with an array of theoretical, analytical, and historical frameworks. It simultaneously positions Petrucci's prints within a multivalent world of reading, printing, publishing, and singing and ultimately situates the prints within the realm of devotional activities.
23
Allinson, David John. „The rhetoric of devotion : some neglected elements in the context of the early Tudor motet“. Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286476.
24
Franklin, James Christopher. „Sitting Next to Bach: the Influence of Js Bach on Sven-david Sandström’s Bach Motet Project with a Focus on the Motets “Der Geist Hilft” and “Singet Dem Herrn”“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700027/.
Annotation:
In many of his choral works, Swedish composer Sven-David Sandström has sought a connection with the musical masters of the past. The number of Sandström works that bear a strong connection to Bach’s music is quite extensive and includes High Mass (1994), Magnificat (2005), the six motets (2003-2008) which constitute the Bach Motet Project under current discussion, and St. Matthew Passion, which recently premiered in Germany and Sweden in 2014. This study explores the extent to which Sven-David Sandström emulated the motets of J.S. Bach in the composition of his own motets. Further, this paper investigates these motets as a collection and examines two individual works within the collection as case studies for in-depth analysis. Ultimately, through analysis and discussion of the text, the division of text, the scoring of the motets, points of imitation, and specific compositional devices, the discussion explains how Sandström pays homage to Bach in the Motet Project primarily through the use of similar structural elements while maintaining his unique compositional voice to forge his own expressive path.
25
TROUT, JOHN WILLIAM. „THE ARS MUSICAE OF JOHANNES DE GROCHEIO: THE UNANSWERED QUESTIONS AND A GLIMPSE OF MEDIEVAL CULTURE, TRADITIONS, AND THINKING“. University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin983290571.
26
Hertz, Bénédicte. „Le Grand motet dans les pratiques musicales lyonnaises (1713–1773) : Étude des partitions et du matériel conservés à la bibliothèque municipale de Lyon“. Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20041.
Annotation:
La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut du roi Louis XV, les fêtes et réjouissances publiques et les concerts spirituels. Le corpus des motets conservés à Lyon est l’objet d’une analyse rigoureuse : la deuxième partie s’attache au catalogue de l’académie, au support musical (papiers à musique, filigranes et graphies musicales), ainsi qu’aux éléments musicaux dont témoignent les sources. La troisième partie présente le répertoire lyonnais du genre. Lalande représente la moitié du corpus conservé et la majorité des compositeurs sont des maîtres de musique de la Cour ou de la capitale, mais l’on trouve également des compositeurs d’autres provinces (Pétouille, Valette de Montigny, …) et des Lyonnais (Estienne, Bergiron du Fort-Michon, Belouard, …). La réception des œuvres à Lyon est mise en évidence par des comparaisons de sources, tandis que quelques particularités locales apparaissent, telles que la composition en « fragments ». Cette étude permet d’affirmer que, si la musique à Lyon est inscrite dans son époque, elle développe néanmoins des caractéristiques qui lui sont propresThis thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics
27
Irving, John (John Wells). „William Byrd's Motet "Tristitia et anxietas" through Elizabethan Eyes: Performance Practice based on an Examination of Sixteenth-Century Sources“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862868/.
Annotation:
By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."
With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."
28
Cassia, Cristina. „Les oeuvres attribuées à Hesdin“. Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/246226.
Annotation:
Une trentaine d’œuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses œuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des œuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ;d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à Hesdin.About thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objectives informations. This study attemps to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of the sixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym « Hesdin » may possibly hide two different composers.The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
29
Freis, Wolfgang. „Cristóbal de Morales and the Spanish motet in the first half of the sixteenth century : an analytical study of selected motets by Morales and competitive settings in Sev-Bc 1 and Taraz-C 2-3 /“. Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121617j.
Annotation:
Diss.--Philosophie--Chicago, Ill.--Univ., 1992.3 tomes réunis en 1 seul volume. Extraits de textes en latin avec la trad. anglaise en regard ainsi que des textes en espagnol. Les transcriptions en fin de volume sont celles de motets conservés à la Biblioteca Colombina de la Cathédrale de Séville (Sev-Bc 1) et à l'Archivo Capitular de Tarazona (Taraz-C 2-3). Bibliogr. p. 343-354.
30
Dobbs, Benjamin Michael. „Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33142/.
Annotation:
Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.
31
Dobby, Margaret. „Le Motet et l’Arbre de Jessé. Les pièces à deux voix sur la teneur FLOS FILIUS EJUS dans le codex W2“. Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5015/document.
Annotation:
Les motets du XIIIe siècle chantés sur le répons Stirps Jesse forment l'apogée d'une tradition exégétique, iconographique et musicale plus connue sous le nom d'« arbre de Jessé ». Le répons, attribué à Fulbert de Chartres (mort en 1028), évoque de façon métaphorique les liens entre Marie et son Fils. Il rappelle ainsi un des fondements du dogme chrétien : l'Incarnation charnelle de Dieu par l'intermédiaire de la Vierge. Son utilisation dans les motets n'est donc pas anodine. Le Stirps Jesse, ou plus fréquemment la seconde partie de son verset FLOS FILIUS EJUS, a été repris et ordonné de façon rythmique pour servir à la création d'une polyphonie textuelle et musicale. La voix empruntée ou teneur détermine ainsi la mélodie, la longueur des phrases mélodiques et des vers du double. Pourtant, malgré ces contraintes et les nombreux contrafacta, l'étude démontre l'existence de liens structurels entre texte et musique dans les motets à deux voix sur FLOS FILIUS EJUS conservés dans le manuscrit W2. Les relations entre texte et musique reposent ainsi le plus souvent sur la coïncidence entre la disposition des poèmes et l'organisation des répétitions motiviques (colores), des registres et des rythmesThirteenth-Century motets composed on the response Stirps Jesse belong to a great exegetical, iconographical and musical tradition well-known as the « Tree of Jesse ». The response, which is possibly composed by Fulbert of Chartres (d. 1028), express the relationships between Mary and her Son. It calls to mind one of the most important Christian believes as the flesh Embodiment of God thanks to the Virgin which is one of the most important Christian dogmas. The Stirps Jesse, or more often the second part of the verse FLOS FILIUS EJUS, is rhythmically organized in order to create a textual and musical polyphony. The melody, the lengths of musical phrases and of the line of the upper part depend intimately on this quotation or tenor. Even if the tenor is of great influence on the polyphony, this study demonstrates that the textual structure of the upper part corresponds to the musical organization in the two-part motets on FLOS FILIUS EJUS in the manuscript W2. The relationships between poem and melody are built on the close connection between the structural organization of the text and of the melody thanks to the melodic patterns (colores), register and rhythms
32
Cassia, Cristina. „Les œuvres attribuées à Hesdin“. Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2004.
Annotation:
Une trentaine d’oeuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses oeuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des oeuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ; d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à HesdinAbout thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objective informations. This study attempts to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of thesixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym “Hesdin” may possibly hide two different composers. The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin
33
Rose-Steel, Tamsyn. „French Ars nova motets and their manuscripts : citational play and material context“. Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3313.
Annotation:
The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth-century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citational techniques such as borrowed liturgical tenors, modelling of rhyme schemes on existing works, and quotation of refrains and authorities. The polyphonic and polytextual nature of the motet enabled composers to juxtapose different registers, languages and genres, and thus to create an array of competing possible interpretations. This study is situated against several strands of recent scholarship. It draws on critical theory, as well as discussions of refrain definition, memory, manuscript compilation, and notions of voice, authority and authorship. Each chapter examines a particular body of work: the interpolated Roman de Fauvel, the works of Guillaume de Machaut, the motets of the Ivrea and Chantilly manuscripts, and finally those of Manuscript Torino J.II.9. In each case, looking at the use of citation and allusion connects to other concerns. In the Roman de Fauvel, citation in the motets can be seen as functioning alongside use of the vernacular, manuscript layout and illuminations to elucidate the narrative. In the works of Guillaume de Machaut citation is linked to his ambiguous self-presentation and authorial presence, and connects individual pieces in his complete works’ manuscripts. The Ivrea and Chantilly motets, while not linked by the same strength of context, demonstrate continuing use of thirteenth-century tradition. In this case, studying compilation choices may help us to understand how scribes interpreted citational material. Finally, I argue that understanding the internal use of symmetry in MS J.II.9 and its motets, and the reuse of material between the motets and the chansons of that repertory, vindicates the view that the music and poetry was composed by a single author well versed in mainstream tradition. I have been able to propose some previously unnoted allusions in the major works, and draw out the benefits of a holistic approach to understanding these motet and manuscripts. All this points to motets both continuing the writing traditions of the thirteenth century throughout the fourteenth and early fifteenth centuries, but also shows individual writers and compilers choosing to cite in a creative and innovative manner.
34
POULOS, PETER S. „THE LIFE AND SACRED MUSIC OF SIMONE MOLINARO (ca 1570-1636), MUSICIAN OF GENOA“. University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100782272.
35
LAMB, ROBERT E. „Michel-Richard de Lalande's In convertendo Dominus: A Performing Commentary“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155518518.
36
Duclos, Marie-France. „A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD“. UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/141.
Annotation:
The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux.
The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music
37
Šich, Pavel. „Motel“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2014. http://www.nusl.cz/ntk/nusl-226701.
Annotation:
The project was prepared with complete documentation of a new Motel at the level of building construction documentation. Motel has a capacity of 25 double beds and one single bed for the disabled. Built-up area is 984,2 square meters. Enclosure is designed as a flat roof. The supporting structure of the building consists of prefabricated reinforced concrete frame. Building design emphasizes on static solution and layout, fire safety, energy saving and safety of use. Drawings were processed in software for design - AutoCad
38
Veselský, Jaroslav. „Motel“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240101.
Annotation:
The subject of this diploma thesis is designing a new building of Motel in Mikulov in Moravia. The object is located near a road in the suburbs. The land is in a sloped terrain. The object has three aboveground floors. In the first floor there is a restaurant including a kitchen and the background. There are two barier free rooms for accommodation as well. In the second floor there are eight double rooms. In the western part of the object there is a multipurpose hall including its own backgroud. In this floor there are recreation rooms to be found – a library and a children’s club. The third floor consists of eight double rooms too. Some space in this floor is used for technical purposes (air conditioning equipment). The motel‘s operational part is made of cloakrooms for stuff, technical rooms and a warehouse. The construction of this building is bricked using the Porotherm system. There is flat single vegetation roof or classical-structure roof used. The building is based on base band. The perimeter wall is insulated using contact insulation ETICS system. The drawings are processed in ArchiCAD 17.
39
Beranová, Iveta. „Motel“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2017. http://www.nusl.cz/ntk/nusl-265638.
Annotation:
The diploma thesis deals with the processing of project documentation. Specifically, the parts A, B, C, D.1.1 and D.1.3 of Annex 6 to Regulation No. 499/2006 Coll., On construction documentation, as amended by Decree No. 62/2013 Coll. The documentation refers to a motel with restaurant designed for 50 guests. The plot is located in Troubsko. The motel is divided into three separate buildings. In the main building is reception, restaurant with kitchen and offices. The building has ground floor and underground floor. The accommodation is divided into two one-storey buildings. The buildings are formed by separate units with 4 or 2 rooms which are connected by one roof. All buildings are designed with flat green roof. There is parking lot for public and restaurant guests, for accommodated guests ans private parking for employees and supply is solved on the plot. The buildings are based on plain concrete foundation strips. Vertical load-bearing structures are designed from sand-lime. Horizontal load-bearing structures are designed from precast filigree slabs. Partitions are designed from autoclaved aerated concrete blocks. The facade is thermally insulated by EPS boards. The 3% slope of the roof is achieved by using tapered EPS boards. Vegetation (stone crops) will be planted on the roof. part of this thesis is static calculation and design of staircase slab from reinforced concrete.
40
Balthazart, Fabian. „Henry Madin. Traitement des lacunes dans l'orchestre des motets à grand chœur: Spécificités et problématiques d’une pratique entre science et art“. Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/217143.
Annotation:
S'il est aujourd'hui moins connu que ses contemporains André Campra (1660-1744) ou Jean-Philippe Rameau (1683-1764), l'abbé Madin (1698-1748), selon Évrard Titon du Tillet « un des meilleurs compositeurs de ce siècle pour les motets », est une des figures les plus représentatives de la vie musicale sous Louis XV. Il fut, post mortem, le compositeur le plus joué à la Chapelle royale de Versailles. Comme une partie du répertoire de cette institution, ses motets à grand chœur nous sont parvenus sous forme de partitions réduites. Cet usage, propre à la musique française de l'Ancien Régime, consistait à copier les chœurs, les solistes, les dessus de violon et la basse continue en omettant les parties intérieures de l'orchestre. En nombre variable, de deux à trois, ces parties, qui existaient sur le matériel d'orchestre, ont très souvent été perdues. Pour restituer cette musique aujourd'hui, une des options possibles consiste à recomposer ces parties selon les critères esthétiques de l'époque et le style propre à chaque compositeur.La présente thèse, tout d'abord, entame une réflexion sur l'acte d'ajout de parties manquantes dans les œuvres lacunaires du passé. Elle propose ensuite, une restitution de l'intégrité orchestrale de trois motets à grand chœur de Henry Madin (Beatus vir, De profundis, Te Deum) qui servirent de terrain d'expérimentation. Ils sont présentés dans leur intégralité, en partitions et, pour certains extraits, en enregistrements. Enfin, la thèse tend à démontrer qu'une telle démarche éclaire les œuvres d'une nouvelle lumière et leur redonne un éclat nouveau que la patine avait terni.Bien que l'ajout de parties ne puisse rendre son état originel aux motets abordés, le postulat de départ est de se positionner dans un contexte historico-stylistique le plus proche possible des sources étudiées. Cette attitude passe par l'étude des formes musicales, du contrepoint et de l'harmonie au XVIIIe siècle, des sources musicales, des effectifs et des traditions de la Chapelle royale de Versailles. Subséquemment, ces recherches, indispensables à la mise en œuvre de l'expérimentation, apportent un éclairage original sur les pratiques musicales et les œuvres de cette institution dans la première moitié dudit siècle.Aussi poussées que puissent être les recherches et analyses, l'expérimentation démontre que les prises de décisions relèvent du seul libre arbitre du musicien intervenant dans les œuvres, acte éminemment artistique. La thèse positionne ainsi la démarche entre science et art.Doctorat en Art et Sciences de l'Art
info:eu-repo/semantics/nonPublished
41
Hammond, Bryce. „Transient Motel“. Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5640.
Annotation:
“Transient Motel” is an exhibition that investigates the interactions of people and physical environments in low-income areas of Daytona Beach, Florida. The purpose of the exhibition is to raise social awareness of low-income communities among the public through visual art. Interactions between motel guests were documented as first-hand sound recordings of conversations, interviews and other activities. These recordings are projected through speakers within a constructed life-sized replica of the motel rooms in which they were recorded. Found and appropriated furniture and fixtures from the actual rooms are arranged within the replica as objects of art to familiarize the public with conditions of poverty. During my exhibition, the public is encouraged to participate by entering and exploring the replica of the motel room. The participant experiences authentic objects, sounds and smells of Daytona Beach motel rooms that have been inhabited by victims of transient poverty.?M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and the Computer
42
Ekberg, Kristoffer. „Kvinnotyperna på modet“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35998.
Annotation:
Uppsatsen Kvinnotyperna på modet går igenom hur tidningen Charme hjälper till att skapa olika kvinnlighetstyper. Utifrån Judith Butlers teori om genus och queer performances ses bilder och text som exempel på hur en kvinnlighet formeras i tidningen Charme. En tidning som bara existerar mellan åren 1921-1933 och säger sig rikta sig till den moderna kvinnan. Hur kan denna moderna kvinna ha sett ut och på vilka sätt skiljer hon ut sig från andra typer av kvinnligheter? Exempel på kvinnlighets-skapande faktorer ges från dels arbete men även från nöjesliv och nationalitet.
43
Seiferling, Steffen. „O felix templum jubila : Musik, Text und Zeremoniell in den Motetten Johannes Ciconias /“. Berlin : Mensch & Buch, 2004. http://catalogue.bnf.fr/ark:/12148/cb40147064d.
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Faizand, de Maupeou Félicie. „Claude Monet et l'exposition“. Rouen, 2013. http://www.theses.fr/2013ROUEL008.
45
Moravec, Ladislav. „Motel u Novomlýnských nádrží“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240242.
Annotation:
Diploma thesis deals with the complex design documentation of newly-built motel near the Novomlýnských ponds with separate buildings. The building is situated near the D52 motorway in the cadastral Perná. The motel is designed for temporary accommodation, eating and recreation. It is a two-storey building with flat roof and without a basement. Besides the main building, there are also four bungalows. The building is designed with traditional building materials. The hotel is desingned for visitors with limited mobility and orientation.
46
Cichy, Andrew Stefan. „'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.
Annotation:
Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.
47
Chaney, Mark Allen. „Four motets from the Florilegium portense“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180461416.
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Davies, Rachel Lindley. „Marian aspects of Montpellier Codex motets“. Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4453/.
Annotation:
This thesis explores the means by which, and the forms in which, the Virgin Mary and her medieval Cult are represented in the motets of the thirteenth-century northern French Montpellier Codex (Mo). It reveals how various musical and poetic techniques are used to worship and address the Virgin and to make her the central focus, even in works addressing apparently non-Marian aspects of Christianity. I demonstrate that the repertoire uses linguistic, musical, and numerical symbolism for Marian purpose, and consider how these symbols would have been understood by a medieval audience. This analytic approach reveals that the Feast of the Annunciation features more frequently in the Codex than has previously been recognised, and that the Virgin, and her Feasts of the Annunciation and Assumption, are of great, and previously unexplored, significance to Fascicle IV of the Codex. This thesis provides new insight into how the theme of mystical marriage is emphasised in Mo, and the final two chapters explore how the Virgin, and the Marian model of mystical marriage, were used as a means for molding and critiquing a variety of women, including the stock characters of the dame courtoise and the shepherdess Marion.
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Anthonioz, Anne-Marie. „Houdar de La Motte : auteur tragique“. Paris 4, 1986. http://www.theses.fr/1986PA040039.
Annotation:
Houdar de La Motte est un poète connu dans la littérature française pour ses fables, ses odes et sa traduction de l'Illiade qui relança la querelle des Anciens et des modernes dans les années 1714-1715. Il est moins connu comme auteur tragique, pourtant ses quatre tragédies, les Macchabées, Romulus, Ines de Castro et Oedipe connurent un succès assez considérable. Nous avons fait le portrait de la Motte en évoquant sa vie, sa carrière et ses oeuvres. Il a accompagné ses tragédies de discours dans lesquels il expose ses vues sur l'art dramatique et se montre un théoricien audacieux en proposant déjà certaines réformes importantes, comme par exemple la suppression des confidents et une tragédie en prose. Nous avons étudié la composition des ses tragédies avec leurs sources, les différents types de personnages avec leurs caractères propres, enfin les thèmes qu'ils soient d'ordre politique, moral et sentimental ou religieux dont est porteur ce théâtre du 18ème siècle et qui font sa grande richesse. Une étude de style complète ce travail qui avait pour but la redécouverte d'un auteur tragique injustement oublié qui mérite pourtant largement notre intérêt, impregnant son oeuvre d'une sensibilit́é nouvelle, remplaçant la grandeur par le pathétisme, Houdar de La Motte a fait évoluer le genre tragique et a jeté les premières semances du drame romantiqueHoudar de La Motte is a well-known poet in the french literature by fables, odes and the translation of the Iliade that boosted up again "la querelle des Anciens et des modernes" in the years 1714-1715. He is less known as a tragic dramatist, nevertheless, he wrote four tragedies which were successsfull : les Macchabées (1721), Romulus (1722), Ines de Castro (1723) and Oedipe (1726). We have drawn a portrait of la Motte, pointing out the most important steps of his life, his carreer and his work. In parallel of his tragedies, he wrote some "discours" in which he formed new theories about dramatic art and he proposed, in the same way, some important reforms as writing a new tragedy in prose form. We have studied the arrangement of the tragedies, their sources, the different classes of characters and the political, moral or sentimental and religious themes. All theses themes, as we know, have given the touch of brightness and interest to the dramatic art of this century, a study of the poet's style completes this work. Our point was to promote this author unfairly forgotten, using a new sensibility and more pathetism, Houdar de La Motte gave the new way to the tragedy and by this fact he may be recognized as a forerunner of the romanticists
50
Anthonioz, Anne-Marie Seme Mme. „Houdar de La Motte, auteur tragique“. Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595522z.