Zeitschriftenartikel zum Thema „Motet“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Motet" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
Bradley, Catherine A. „Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family“. Journal of Musicology 32, Nr. 2 (2015): 153–97. http://dx.doi.org/10.1525/jm.2015.32.2.153.
Smith, Norman E. „The Earliest Motets: Music and Words“. Journal of the Royal Musical Association 114, Nr. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.
Bradley, Catherine A. „Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle“. Journal of the American Musicological Society 72, Nr. 2 (2019): 431–92. http://dx.doi.org/10.1525/jams.2019.72.2.431.
BROWN, THOMAS. „Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets“. Plainsong and Medieval Music 10, Nr. 2 (Oktober 2001): 121–33. http://dx.doi.org/10.1017/s0961137101000092.
Piéjus, Anne. „THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT“. Early Music History 40 (Oktober 2021): 253–93. http://dx.doi.org/10.1017/s0261127921000036.
Crook, David. „The Exegetical Motet“. Journal of the American Musicological Society 68, Nr. 2 (2015): 255–316. http://dx.doi.org/10.1525/jams.2015.68.2.255.
Melamed, Daniel R. „The Authorship of the Motet "Ich lasse dich nicht" (BWV Anh. 159)“. Journal of the American Musicological Society 41, Nr. 3 (1988): 491–526. http://dx.doi.org/10.2307/831462.
LEACH, ELIZABETH EVA. „Adapting the motet(s)? The case of Hé bergier in Oxford MS Douce 308“. Plainsong and Medieval Music 28, Nr. 02 (Oktober 2019): 133–47. http://dx.doi.org/10.1017/s0961137119000032.
SHAFFER, MELANIE. „Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets“. Plainsong and Medieval Music 26, Nr. 2 (Oktober 2017): 115–39. http://dx.doi.org/10.1017/s0961137117000055.
Anderson, Michael Alan. „FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST“. Early Music History 30 (08.09.2011): 1–53. http://dx.doi.org/10.1017/s0261127911000027.
Bazinet, Geneviève. „SINGING THE KING’S MUSIC: ATTAINGNANT’S MOTET SERIES, ROYAL HEGEMONY AND THE FUNCTION OF THE MOTET IN SIXTEENTH-CENTURY FRANCE“. Early Music History 37 (Oktober 2018): 45–89. http://dx.doi.org/10.1017/s0261127918000037.
Clark, Alice V. „New tenor sources for fourteenth-century motets“. Plainsong and Medieval Music 8, Nr. 2 (Oktober 1999): 107–31. http://dx.doi.org/10.1017/s0961137100001662.
Atchison, Mary. „Bien me sui aperceuz: monophonic chanson and motetus“. Plainsong and Medieval Music 4, Nr. 1 (April 1995): 1–12. http://dx.doi.org/10.1017/s0961137100000851.
Saint-Cricq, Gaël. „A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THE PEDES-CUM-CAUDA MOTET“. Early Music History 32 (2013): 179–223. http://dx.doi.org/10.1017/s0261127913000077.
Lewis, Ann. „Anti-semitism in an early fifteenth-century motet: Tu, nephanda“. Plainsong and Medieval Music 3, Nr. 1 (April 1994): 45–55. http://dx.doi.org/10.1017/s0961137100000620.
Ryan, Mary Ellen. „“Our Enemies Are Gathered Together”“. Journal of Musicology 36, Nr. 3 (2019): 295–330. http://dx.doi.org/10.1525/jm.2019.36.3.295.
Kidwell, Susan A. „Elaboration through exhortation: troping Motets for the Common of Martyrs“. Plainsong and Medieval Music 5, Nr. 2 (Oktober 1996): 153–73. http://dx.doi.org/10.1017/s0961137100001133.
Bokulich, Clare. „REMAKING A MOTET: HOW AND WHEN JOSQUIN’S AVE MARIA … VIRGO SERENA BECAME THE AVE MARIA“. Early Music History 39 (04.09.2020): 1–73. http://dx.doi.org/10.1017/s0261127920000017.
Tkachenko, E. S. „German Motet in Johannes Brahms’ Works“. Observatory of Culture, Nr. 3 (28.06.2015): 58–63. http://dx.doi.org/10.25281/2072-3156-2015-0-3-58-63.
BRADLEY, CATHERINE A. „Ordering in the motet fascicles of the Florence manuscript“. Plainsong and Medieval Music 22, Nr. 1 (April 2013): 37–64. http://dx.doi.org/10.1017/s0961137112000186.
Savon, Dmytro. „Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text“. Scientific herald of Tchaikovsky National Music Academy of Ukraine, Nr. 131 (30.06.2021): 167–81. http://dx.doi.org/10.31318/2522-4190.2021.131.243229.
Pesce, Dolores. „A Revised View of the Thirteenth-Century Latin Double Motet“. Journal of the American Musicological Society 40, Nr. 3 (1987): 405–42. http://dx.doi.org/10.2307/831675.
Maurey, Yossi. „A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5“. Early Music History 24 (14.07.2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.
Zazulia, Emily. „Out of Proportion“. Journal of Musicology 36, Nr. 2 (2019): 131–66. http://dx.doi.org/10.1525/jm.2019.36.2.131.
Desmond, Karen. „W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250“. Journal of the American Musicological Society 73, Nr. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.
ZAYARUZNAYA, ANNA. „Quotation, perfection and the eloquence of form: introducing Beatius/Cum humanum“. Plainsong and Medieval Music 24, Nr. 2 (25.09.2015): 129–66. http://dx.doi.org/10.1017/s096113711500011x.
Saint-Cricq, Gaël. „GENRE, ATTRIBUTION AND AUTHORSHIP IN THE THIRTEENTH CENTURY: ROBERT DE REIMS VS ‘ROBERT DE RAINS’“. Early Music History 38 (11.09.2019): 141–213. http://dx.doi.org/10.1017/s0261127919000044.
EVERIST, MARK. „Motets, French Tenors, and the Polyphonic Chanson ca. 1300“. Journal of Musicology 24, Nr. 3 (2007): 365–406. http://dx.doi.org/10.1525/jm.2007.24.3.365.
Szelest, Marcin. „"Sancte Simon magno mundi": nowo zidentyfikowany motet Giovanniego Battisty Coccioli“. Muzyka 63, Nr. 3 (02.10.2018): 65–101. http://dx.doi.org/10.36744/m.512.
Brown, Howard Mayer. „The Mirror of Man's Salvation: Music in Devotional Life About 1500“. Renaissance Quarterly 43, Nr. 4 (1990): 744–73. http://dx.doi.org/10.2307/2862788.
Rothenberg, David J. „Angels, Archangels, and a Woman in Distress: The Meaning of Isaac's Angeli archangeli“. Journal of Musicology 21, Nr. 4 (2004): 514–78. http://dx.doi.org/10.1525/jm.2004.21.4.514.
Everist, Mark. „Review“. Royal Musical Association Research Chronicle 20 (1987): 91–97. http://dx.doi.org/10.1080/14723808.1987.10540921.
Clark, Alice V. „Listening to Machaut's Motets“. Journal of Musicology 21, Nr. 4 (2004): 487–513. http://dx.doi.org/10.1525/jm.2004.21.4.487.
Allsen, J. Michael. „Tenores ad longum and rhythmic cues in the early fifteenth-century motet“. Plainsong and Medieval Music 12, Nr. 1 (April 2003): 43–69. http://dx.doi.org/10.1017/s0961137103003036.
CLARK, SUZANNAH. „‘S’en dirai chançonete’: hearing text and music in a medieval motet“. Plainsong and Medieval Music 16, Nr. 1 (April 2007): 31–59. http://dx.doi.org/10.1017/s0961137107000605.
Everist, Mark. „The Refrain Cento: Myth or Motet?“ Journal of the Royal Musical Association 114, Nr. 2 (1989): 164–88. http://dx.doi.org/10.1093/jrma/114.2.164.
Reynolds, Christopher. „Motive, Structure and Meaning in Willaert’s Motet Videns Dominus“. Journal of Musicology 32, Nr. 3 (2015): 328–45. http://dx.doi.org/10.1525/jm.2015.32.3.328.
Bradley, Catherine A. „CONTRAFACTA AND TRANSCRIBED MOTETS: VERNACULAR INFLUENCES ON LATIN MOTETS AND CLAUSULAE IN THE FLORENCE MANUSCRIPT“. Early Music History 32 (2013): 1–70. http://dx.doi.org/10.1017/s0261127913000016.
Wolinski, Mary E. „The compilation of the Montpellier Codex“. Early Music History 11 (Oktober 1992): 263–301. http://dx.doi.org/10.1017/s0261127900001248.
Rose-Steel, Tamsyn, und Ece Turnator. „Medieval Music in Linked Open Data: A Case Study on Linking Medieval Motets“. International Journal of Humanities and Arts Computing 10, Nr. 1 (März 2016): 36–50. http://dx.doi.org/10.3366/ijhac.2016.0158.
Aspøy, Arild. „Handlingsrommet og motet“. Stat & Styring 24, Nr. 01 (01.04.2014): 1. http://dx.doi.org/10.18261/issn0809-750x-2014-01-01.
Bent, Margaret. „Varieties of motet“. Early Music XXVIII, Nr. 1 (Februar 2000): 114–16. http://dx.doi.org/10.1093/earlyj/xxviii.1.114.
Dunlop, Margaret. „Response to motet“. Nursing Inquiry 7, Nr. 3 (September 2000): 214. http://dx.doi.org/10.1046/j.1440-1800.2000.00044-2.x.
Williamson, Magnus. „Royal image-making and textual interplay in Gilbert Banaster's O Maria et Elizabeth“. Early Music History 19 (Oktober 2000): 237–78. http://dx.doi.org/10.1017/s026112790000200x.
Thomas, Jennifer. „Reading Michele Pesenti’s Tulerunt Dominum meum“. Journal of Musicology 32, Nr. 3 (2015): 367–409. http://dx.doi.org/10.1525/jm.2015.32.3.367.
Saucier, Catherine. „Johannes Brassart’s Summus secretarius“. Journal of Musicology 34, Nr. 2 (2017): 149–81. http://dx.doi.org/10.1525/jm.2017.34.02.149.
CALDWELL, JOHN. „An early English motet“. Early Music XXVI, Nr. 1 (Februar 1998): 189–90. http://dx.doi.org/10.1093/earlyj/xxvi.1.189.
Weller, Philip. „Sighting the Obrechtian Motet“. Journal of the Alamire Foundation 3, Nr. 1 (Januar 2011): 37–51. http://dx.doi.org/10.1484/j.jaf.1.102192.
Bent, M. „The motet around 1500“. Early Music 35, Nr. 4 (01.11.2007): 684–86. http://dx.doi.org/10.1093/em/cam094.
Saint-Cricq, G. „Sounding the medieval motet“. Early Music 41, Nr. 3 (01.08.2013): 495–98. http://dx.doi.org/10.1093/em/cat067.