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Published: 4 June 2021
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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.

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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.
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2

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.

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3

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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4

Montefu, Jennette Lauren, and 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.

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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.
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5

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.

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6

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.

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7

Borgerding, Todd Michael. "The motet and Spanish religiosity ca 1550-1610 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.

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8

Cramer, Susanne Heugel Johannes. "Johannes Heugel (ca. 1510-1584/85) Studien zu seinen lateinischen Motetten /." Kassel : G. Bosse, 1994. http://books.google.com/books?id=N5ZAAAAAMAAJ.

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9

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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10

Davies, Rachel Lindley. "Marian aspects of Montpellier Codex motets." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4453/.

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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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11

Pumpe, Jutta. "Die Motetten der Madrider Notre-Dame-Handschrift : Studie /." Tutzing : H. Schneider, 1991. http://catalogue.bnf.fr/ark:/12148/cb36651461t.

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12

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.

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13

Skaadel, Håvard. "Musical-rhetorical devices in the small concertato motets of Henry Du Mont (ca. 1610-1684) : conventions and modernity in a mid-17th-century musical aesthetic of proportions and emotional representation /." Oslo : University of Oslo, section of musicology, 2005. http://catalogue.bnf.fr/ark:/12148/cb401080895.

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14

Lütteken, Laurenz. "Guillaume Dufay und die isorhythmische Motette : Gattungstradition und Werkcharakter an der Schwelle zur Neuzeit /." Hamburg : K.D. Wagner, 1993. http://catalogue.bnf.fr/ark:/12148/cb36959308j.

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15

Hüschen, Klaus Dietrich. "Studien zum Motettenschaffen Ernst Peppings." Regensburg : G. Bosse, 1987. http://books.google.com/books?id=E747AAAAMAAJ.

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16

Bradley, C. A. "The earliest motets : musical borrowing and re-use." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596851.

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This thesis examines the ways musical material are borrowed and re-used in early thirteenth century motets. This study is focused principally on the Latin motets preserved in the manuscript F (Florence, Biblioteca Medicea Laurenziana, Plut. 29.1), exploring their interactions with related clausulae and motet versions extant in various thirteenth-century sources. The emphasis on musical borrowing and re-use facilitates a consideration of motets within an inter-generic context. The thesis also engages with issues of compositional process, genre, memory, orality, and literacy, especially changes in the uses of writing in musical transmission and composition. Debate about the chronological relationship between motets and clausulae has a long history. This thesis revisits the issue of ‘which came first?’ Some clausulae appear to pre-date their related motets. However, motets may also subsequently influence related pre-existent clausulae. The study of musical borrowing extends also to the re-working of existing motets through the creation of new texts. It is demonstrated that the major collection of early Latin motets in F includes some pieces which are actually Latin contrafacta of earlier French motets. This challenges the widely accepted theory that Latin motets must automatically have pre-dated those in the vernacular, a faulty premise from which general histories and specialist motet studies have long proceeded. In addition, there is discussion of the ways acts of musical re-use impact on versions of musical material as they are recorded in writing. A hitherto unnoticed pattern in the ordering of motets in F is revealed; as well as being organised in the liturgical sequence of their tenor chants, these motets appear to be grouped together according to the presence or absence of related musical materials recorded in the same source.
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17

Montefu, Jennette Lauren. "The Latin-texted motets of Guillaume De Machaut." Thesis, Australian Catholic University, 2003. https://acuresearchbank.acu.edu.au/download/b97bd042245aab86afea43625e1befd4d47b87c77437d414e8940ded5a77aa24/1343902/65004_Montefu_2003_TheLatin_texted_Motets_1_.pdf.

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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.
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18

Chaney, Mark A. "Four Motets from the Florilegium Portense." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180461416.

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19

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.

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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.
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20

Duchamp, Jean. "Motteti del Fiore : une étude des huit livres de motets édités à Lyon par Jacques Moderne (1532-1543) avec la transcription des pièces inédites /." Lille : A.N.R.T, 2003. http://catalogue.bnf.fr/ark:/12148/cb390576589.

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21

Tacaille, Alice. "L'emprunt à la liturgie dans un corpus de motets (1420-1560) : étude quantitative des genres liturgiques." Paris 4, 1994. http://www.theses.fr/1994PA040231.

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L'ouvrage présente une analyse quantitative des emprunts à la liturgie (antiennes, hymnes, répons, séquences, autres chants liturgiques) dans un corpus de 1810 motets. Les œuvres de J. Dunstable, G. Binchois, G. Dufay, J. Régis, J. Ockeghem, A. Busnois, A. Agricola, J. Obrecht, Josquin des Prés, l. Compere, G. Van Weerbecke, H. Isaac, P. De la Rue, A. Brumel, J. Mouton, A. De Fevin, M. De Orto, J. Lupi, N. Bauldeweyn, Carpentras, P. Verdelot, P. Moulin, J. Lhéritier, Jachet de Mantoue, J. Richafort, A. Willaert, N. Gombert, Clemens non Papa, J. Arcadelt, P. Certon y sont examinées dans l'optique du cantus prius factus, dans une perspective statistique visant à mettre en évidence les évolutions de chaque type de chants entre 1420 et 1560, au moyen de tableaux et de graphiques. Deux catalogues thématiques permettent l'identification des mélodies, classés par ordre alphabétique des mélodies, ou par incipit mélodique. L'évolution des proportions de chaque genre liturgique dénote la fluctuation des tensions religieuses et des aspirations humanistes aux XVème et XVIème siècles
The study presents a quantitative analysis of liturgical borrowed material (antiphons, hymns, responsories, sequences, other liturgical chants) within a corpus of 1810 motets. The works of J. Dunstable, G. Binchois, G. Dufay, J. Regis, J. Ockeghem, A. Busnois, A. Agricola, J. Obrecht, Josquin des Prés, l. Compere, G. Van Weerbecke, H. Isaac, P. De la Rue, A. Brumel, J. Mouton, A. De Fevin, M. De Orto, J. Lupi, N. Bauldeweyn, Carpentras, P. Verdelot, P. Moulin, J. Lhéritier, Jachet de Mantoue, J. Richafort, A. Willaert, N. Gombert, Clemens non Papa, J. Arcadelt, P. Certon are under review, with a cantus prius factus point of view and a statistical method, taking aim for displaying the evolutions of each chant type between 1420 and 1560, by means of tables and graphics. Two thematic catalogues allow melodic identification, classified by Latin textual incipits of the chants, and by musical incipits. Each liturgical chant's evolution denotes the fluctuation of religious tensions and humanistic tendencies in the 15th and 16th centuries
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22

Judd, Dana Cristle Collins. "Aspects of tonal coherence in the motets of Josquin." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/aspects-of-tonal-coherence-in-the-motets-of-josquin(5b292ae1-b291-4226-bfbb-38f5e5b28fb6).html.

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23

Kolb, Paul Lawrence. "Intertextuality, exegesis, and composition in polytextual motets around 1500." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:aaf9f53a-196e-4fc0-8ffb-e37b3353f1d4.

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Over 450 motets survive from the fifteenth and sixteenth centuries which were composed with multiple simultaneously sounding texts. The size of this repertory has been underestimated and its importance under-acknowledged. Narratives of the genre overemphasize early fifteenth-century (and earlier) polytextuality due to its association with arcane rhythmic structuring techniques while stressing a new musical-textual ideal later in the century. This thesis is the first attempt to address the repertory of polytextual motets from the late fifteenth and early sixteenth centuries as a whole. It resituates polytextuality as a central aspect of the genre even after the supposed rise of musical humanism. It suggests a new partitioning of the repertory based on different relationships of texts and cantus firmi. It proposes that the function of cantus firmi shifts during this period toward acting in dialogue with the text(s) of the other voices, even though this dialogic aspect fades away by the mid-sixteenth century. It engages in case studies on small groups of motets, in which the notation, composition, and texts of motets are analyzed, especially concerning cantus firmi as elements of musical structure and as bearers of liturgical, biblical, devotional, and other associations. While scholars have undertaken numerous analyses of individual motets, less common are case studies which ask both why certain texts and cantus firmi were combined and how they were integrated into the musical structure. The appendix includes a catalogue of the repertoire of polytextual motets and chansons with Latin cantus firmi over this period, with indexes by cantus firmus and composer. Also included are transcriptions of seven polytextual compositions without published editions. My research demonstrates the importance of polytextuality within the genre, the sophistication of the compositions using it, and its ability to provide commentary on a number of theological, devotional, political, and aesthetic issues.
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24

Treloar, Stephanie Lynn. "Pierre Attaingnant's Treize livres (1534-35) and their anonymous motets /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059782n.

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25

Wilczkowski, Gabriel. "Gregorianik hos Maurice Duruflé : En analys av Duruflés Quatre motets." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173672.

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Gabriel Wilczkowski: Gregorianik hos Maurice Duruflé. En analys av Duruflés Quatre motets.Uppsala: Musikvetenskap, 60 p., 2002 Under flera hundra år har tonsättare infogat urgamla gregorianska melodier i sina kompositioner, och traditionen lever kvar än i dag, även i populärmusiken. Denna uppsats syftar att undersöka hur Maurice Duruflé (1902-86) behandlat de gregorianska melodier som han infogat i sina körkompositioner Quatre motets. Undersökningen är gjord med avseende på melodik, text och rytmik. En kort biografi om Duruflë presenteras, jämte ett avsnitt om gregoriansk sång och den rytmteori som tonsättaren stödjer sig på. i sina kompositioner. I huvuddelen studeras den gregorianska förlagan och kompositionen, takt för takt. Det visar sig att Duruflé använder sig av förlagans material på litet olika sätt: ibland är melodin och rytmen oförändrad, men den är oftast varierad, och egenkomponerade melodislingor finns. Hela det textliga materialet från förlagan används, ofta genom repetition av vissa bitar. Det märks tydligt att Duruflé lagt stor vikt vid art i kompositionerna behandla de rytmiska betoningar som finns i förlagan.
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26

Schedensack, Elisabeth. "Die Solomotetten Isabella Leonardas (1620-1704) : Analysen sämtlicher Solomotetten und ausgewählte Transkriptionen /." [S.l.] : Neuhausen : American Institute of musicology ; Hänssler-Verlag, 1998. http://catalogue.bnf.fr/ark:/12148/cb36982382w.

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27

Bartels, Katrin. "Musikalisch-rhetorische Figuren in Kompositorischer Praxis : Untersuchungen zur deutschen Evangelienmotette um 1600 /." Aachen : Shaker, 1997. http://catalogue.bnf.fr/ark:/12148/cb375228756.

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28

Schiltz, Katelijne. ""Vulgari orecchie-purgate orecchie" : de relatie tussen publiek en muziek in het Venetiaanse motetoeuvre van Adriaan Willaert /." Leuven : Universitaire Pers Leuven, 2003. http://catalogue.bnf.fr/ark:/12148/cb39212904h.

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29

Thomson, Matthew Paul. "Interaction between polyphonic motets and monophonic songs in the thirteenth century." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4230a588-2359-4ac3-bd87-59c0e4ce775a.

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Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.
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30

Drake, Joshua Farris. "The contemporary perception of text-music relations in motets c.1500." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5644/.

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The goal of my dissertation research is to uncover a tertium quid between two inadequate modern positions on the function of words within motets produced by the so-called ‘Josquin generation’ of composers whose careers ended around 1520. Modern reception has usually approached these motets retrospectively, through the text-focused perspective of the post-Reformation era. Where this has not been the case, they have been appreciated as proto-symphonic ‘absolute music’ - an equally anachronistic position. My dissertation presents a more contemporary view of the relationship between words and music, informed by contemporary writings on the subject and formal analysis. The formal structures of music and poetry often overlap and need not indicate a superior function of one or the other. The salient formal elements of late-fifteenth century motets readily lend themselves to the setting of formally divided text, be it poetry or prose. Likewise, motet texts, and particularly compiled ones, are readily divided for the purposes of musical setting. In some instances we can postulate a priority of text or of music but in many more instances it is impossible and perhaps anachronistic to judge, given the way both words and music function towards the same goal of formal coherence. Composers certainly went to some effort to compile or compose meaningful texts for their motets. It is clear from the settings of these texts, however, that composers were not operating with an unwritten theory about word-tone relations - certainly not an agenda to make music and words relate in more than a general way.
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31

Morton, Wyant. "Questions of authenticity in three motets attributed to Johann Sebastian Bach." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185862.

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The motets Der Gerechte kommt um, Jauchzet dem Herrn alle Welt and Ich lasse dich nicht have figured prominently in the ongoing discussion regarding the authentic and spurious motets of Johann Sebastian Bach. While the high musical quality of these compositions has long been recognized, disagreement over their authorship has continued because of the complexity of their source transmission. Evaluation of previous scholarship in light of recent investigations into the source transmission of these pieces suggests that all three works were, indeed, the handiwork of J. S. Bach. In support of this premise, a look at stylistic evidence derived from these pieces and selected cantatas and motets by J. S. Bach makes clear that an attribution to J. S. Bach is in the realm of very high possibility.
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32

Schlagel, Stephanie P. "Josquin des Prez and his motets : a case study in sixteenth-century reception history /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122202n.

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Diss.--Philosophie--Chapel Hill, N.C.--Univ., 1996.
Sources manuscrites et imprimées concernant les motets avec localisation p. 335-355. Contient la musique de 3 motets en fin de volume. Bibliogr. p. 387-398.
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Kempson, Emma Clare. "The motets of Henricus Isaac (c. 1450-1517) transmission, structure and function /." Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.287312.

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Hughes, J. Edmund, and J. Edmund Hughes. "The Choral Style of Healey Willan as Exemplified in the Liturgical Motets." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626231.

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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.

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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.
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Esparza, Eric Peché. "The motets of Francesco Cavalli's Musiche Sacre: performing edition with critical commentary." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12364.

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Thesis (D.M.A.)--Boston University
Francesco Cavalli was the most renowned composer of opera in seventeenth-century Venice. Though Cavalli's operas have enjoyed a surge in popularity and interest in recent years, his sacred works remain largely unknown. Cavalli published only a small portion of his compositional output, and his Musiche Sacre Concernenti of 1656 contains the largest source of his acred music in concertato style, representing a fusion of his sacred and secular compositional worlds. The purpose of this study is threefold. The first is to provide a modern performing edition of each motet governed by the same editorial principles that will serve scholars and performers by providing a performing edition based on the Gesamtausgabe tradition of complete works of a single composer. The second is to explore the musical, liturgical, and historical context and significance of his motets as pertains to executing an informed performance. The third is to promote the music of Francesco Cavalli in general. The motets of the collection include eleven psalms, five hymns, the Magnificat, and the four Marion antiphons, employable in various Vesper services of the liturgical year. Part I of this study will serve as the Critical Commentary to the edition. Chapter 1 examines Cavalli's life and work. Chapter 2 contains analyses of the motets. Chapter 3 discusses the liturgical contexts of the motets as well as the historical background of the collection in relation to Seicento Venice. Chapter 4 explores issues of performance practice such as ensemble size, voicing, the appropriate choice of instruments, pitch center, continuo practice, tempo, metric relationships, coronas, dynamics, and missing verses. Part II will present the performing edition of each motet in full score with a critical report. Sources and editorial methods will be discussed, and detailed critical notes will be provided. Appendices including the motets' texts, translations, and instrumental parts are provided.
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Russell, Kathleen. "Exegesis and the structure of the thematic sermon in Du Fay's Florentine motets." Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8740.

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This study compares two widely diffused genres from the fifteenth century, the motet and the thematic sermon. The analysis of the text, the musical structure, and the mode of Du Fay's three Florentine motets, Mirandas parit, Salve flos, and Nuper rosarum, will reveal connections between the structure of the sermon model and that of the motets. As well, analysis of the motets will reveal the use of certain musical gestures which enhance the meaning of the text and establish thematic connections essential to the effective presentation of a message in the music. The comparison of the motet genre and the sermon model supports the underlying hypothesis of the study, that the intent of the composer was in fact to deliver a message in both the text and the music.
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Rice, Stephen James. "The five-part motets of Nicholas Gombert : stylistic elements, theoretical issues, and historiography." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402815.

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Franke, Veronica Mary. "Palestrina's fifteen five-part imitation masses modelled upon motets : a study of compositional procedures." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315851.

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40

Molina, Marcela. "The Use of Chorale in the Motets of Johannes Brahms: Plurality of Musical Languages." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301695.

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This document examines the chorale settings found in the motets of Johannes Brahms in order to illustrate how Brahms draws upon the chorale settings of Bach's motets and cantatas. By incorporating progressive nineteenth-century idioms into the chorales of his motets, Brahms not only referenced Bach's works, but also further developed the motet genre. I will demonstrate, through the approach of plurality of musical languages, that Brahms's use of chorales in his motets, while referencing Bach's motet and cantata models, creates a new motet style that is distinctively Brahms's. The four motets included in this study due to their use of chorale are "Es ist das Heil uns kommen her," op. 29, no. 1; "Warum ist das Licht gegeben dem Mühseligen," op. 74, no. 1; "O Heiland, reiss die Himmel auf," op. 74, no. 2; and "Ach, arme Welt," op. 110, no. 2.
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Brobeck, John Thomas. "The motet at the court of Francis I /." Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686076.

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Melville-Richards, Joanna. "Text- and music-structures in two fourteenth-century manuscripts of English provenance." Thesis, Bangor University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322345.

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Decobert, Laurence. "Henry Du Mont : 1610-1684 : sous-maître de la chapelle de Louis XIV : contribution à l'histoire de la musique religieuse au grand siècle." Lille : L'Université, 1990. http://catalogue.bnf.fr/ark:/12148/cb37073156d.

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44

Duchamp, Jean. "Motteti del Fiore : une étude des huit livres de motets édités à Lyon par Jacques Moderne (1532-1543) avec la transcription des pièces inédites." Tours, 2000. http://www.theses.fr/2000TOUR2025.

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Les Motteti del fiore édités à Lyon par Jacques Moderne constituent une des plus célèbres anthologies de motets de la Renaissance représentant huit livres, échelonnés entre 1532 et 1543. En représentant 228 motets de 64 compositeurs, ces recueils comptent les œuvres les plus célèbres de ce temps (J. Richafort, N. Gombert, Jacquet de Mantoue, A Willaert) et celles de figures mineures dont elles constituent souvent la seule trace dans l'histoire de la musique. Cette approche est organisée en trois temps. La première partie vise à actualiser les connaissances sur Jacques Moderne, son milieu et sa carrière. Les Motteti del fiore sont présentés dans le contexte éditorial lyonnais, marqué par la vivacité des réseaux commerciaux avec l'Italie. Les désordres politiques ayant stoppé l'édition musicale de ce pays, cet éditeur fit de Lyon un pôle essentiel de l'édition de la musique, en cristallisant dans les premiers de ces recueils le répertoire franco-flamand diffusé dans les manuscrits italiens ; puis, ses liens avec l'Italie fléchissant, il se tourna vers des sources plus disparates. La seconde partie constitue l'étude des livres : sources et diffusion, concordances. Ensuite, une présentation matérielle entend proposer une compréhension des titres et une nouvelle datation de deux livres à quatre voix. L'apparente désorganisation des recueils est examinée du point de vue de la musique, de la liturgie, des connexions historiques et des compositeurs. La troisième partie est une étude stylistique de ce corpus abordée au moyen des genres liturgiques traditionnels et des principales orientations spirituelles. Ensuite, l'étude typologique de ces motets envisage les tendances principales de cette époque auxquelles chaque compositeur est ensuite rattaché grâce à une analyse comparée systématique. Le second tome fournit l'édition de 91 pièces inédites
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45

Smith, Anthea Elizabeth. "The sacred motets of Henry Du Mont (1610-1684) : aspects of classification, dating and performance." Thesis, University of Hull, 2005. http://hydra.hull.ac.uk/resources/hull:11072.

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The music of Henry Du Mont fell ,into oblivion soon after his death. Although the rediscovery of his life and music began, with Quittard's 1906 publication, it is only in the last twenty years that Du Mont's importance in the development of sacred music in seventeenth-century France has been acknowledged by academics and performers alike. The present study begins by drawing together from scattered musicological writings the current state of research into Du Mont's biography. Much of this material appears here in English for the first time, and provides a useful frame of reference for the subsequent discussion of his music. The dissertation continues by examining three aspects of Du Mont's sacred motets which were written throughout his career as organist of St Paul's in Paris and as composer and director .o f music at the chapel of the court of Louis XIV. Firstly, it looks at the classification of the sacred motet, detailing the hitherto unreported variety of small-scale formats encompassed by the modern term petit motet, and investigating the development of the larger-scale grand motet. Secondly, the study questions the validity of evidence currently available for the dating of the sacred motets, including a comparison of multiple extant sources of some of the grands motets. Finally, it looks at previously unexplored issues of performance practice, in particular the distribution of voices between the two choirs in the grands motets and aspects of Du Mont's use of instruments in his sacred works. Arising from this is a clarification of the number of singers and instrumentalists serving under Du Mont at the royal chapel and the consequent implications on performance practice.
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Sauerborn, Franz-Dieter. "Homer Herpol, ca.1510-1573 /." Pfaffenweiler : Centaurus-Verlagsgesellschaft, 1991. http://catalogue.bnf.fr/ark:/12148/cb40065499x.

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47

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/.

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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.
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Cabré, i. Cercós Bernat. "Els motets de Josep Reig(1595-1674). Contribució al coneixement del primer Barroc musical a Catalunya." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/668996.

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A partir de la transcripció i edició crítica de la important col•lecció de vint-i-set motets a doble cor de Josep Reig (1595-1674), conservats en el que es coneix com a Manuscrit número 5 de Santa Maria del Mar de Barcelona, s'ha realitzat una anàlisi que contempla tres aspectes clau: anàlisi formal, vincles i divergències amb la teoria musical contemporània i elements retòrics que s'hi poden localitzar. Aquesta anàlisi ha estat posada en relació amb uns altres disset motets del mateix format de Joan Pujol (1570-1626) conservats a la mateixa font. D’altra banda la comparativa ha estat feta des de la perspectiva de la més que probable relació mestre-deixeble existent entre els dos compositors.Altres aspectes treballats han estat un aprofundiment en aspectes fins ara desconeguts de la biografia de Reig, com també la fixació del seu catàleg d’obra conservada. Igualment, la conservació de part del Manuscrit núm. 5 de Santa Maria del Mar ha permès d’elaborar-ne un estudi codicològic.L’objectiu principal de la tesi és, doncs, la descripció i aprofundiment en el coneixement del procés de consolidació de l’estètica musical barroca a Catalunya a través d’un dels principals corpus de repertori del que s’ha vingut anomenar primera etapa del Barroc.
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49

Passmore, Andrew. "A study of performance issues and an edition of Alessandro Grandi's six books of concertato motets." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/13909/.

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Alessandro Grandi (1586-1630) is a relatively unknown, yet significant figure in the development of seventeenth-century Italian sacred music. The dissemination of Grandi’s works, the number of reprints of his motets, and his inclusion in anthologies provide sufficient evidence that the substantial output of this composer is worthy of the public domain. If Grandi is to be performed, the creation of a reliable edition is essential. This submission is comprised of a scholarly edition of Grandi’s six books of concertato motets; a selection of ten motets with fully realised continuo parts which are intended to exemplify my research and enable others to apply these techniques to similar motets; an audio recording of a recital given in order to demonstrate the findings of my research; an accompanying study of related performance issues, including ornamentation, pitch, temperament, transposition, continuo style, figured bass, and instrumentation; and a historiographical study of the dissemination of the small-scale concertato motet across Europe, which has ultimately guided my choice of source material. Mine is the first complete edition of Grandi’s six books of concertato motets. During the course of my study, the American Institute of Musicology, led by Steven Saunders and Jeffrey Kurtzman, has also begun work on another complete edition, of which two volumes have been published to date. While my main priority continues to be the provision of a scholarly edition, I have also supplemented this by including examples of my unique continuo realisations, as practised and tested in performance. The following chapters are intended to accompany the edition, and provide a directive, from which the findings of my research may be applied to future performances. This research endeavours to bring the works of Grandi to the forefront of historical performance practice, so that performers worldwide may access these obscure gems of the early seventeenth century.
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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.

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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.
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