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1
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.
Testo completo
2
Iler, Devin. "Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822783/.
Testo completoAbstract (sommario):
The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translation of Philomathes’s work, as well as produces a critical commentary and comparison of the five editions while positioning the editions within the context of the musico-theoretical background of early-to-mid-16th century scholarship in Central Europe.
3
Wood, Sienna M. "Chansons, madrigales and motetz a 3 parties by Noe Faignient| A Composer's Debut in 16th-Century Antwerp". Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3743677.
Testo completoAbstract (sommario):
Chansons, madrigales & motetz a 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noe Faignient (c.1537-1578). This musical collection (henceforth CM&M a 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linkoping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient?s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the center of commerce and culture in the Low Countries in the 16th century, and for international distribution in pursuit of patronage or permanent employment abroad. The commercial value of chansons, madrigals, and motets had been well established in Western Europe by this time, but liedekens did not share the international marketability of the other genres. Liedekens are included in CM&M a 3 not for commercial reasons, but as vehicles of political propaganda and expressions of national identity corresponding with the outbreak of the Dutch Revolt against Spanish rule of the Low Countries. Faignient?s posture of religious nonalignment in CM&M a 3 parallels early rebel propaganda, but also reveals the composer to be a careerist; one of many composers of his generation to separate his professional and creative activities from religion in order to serve his professional ambitions and his political ideals amid the turbulence of the Reformation.
4
Botelho, Lynn Ann. "English housewives in theory and practice, 1500-1640". PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.
Testo completoAbstract (sommario):
Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.
5
Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.
Testo completoAbstract (sommario):
At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.
6
莊小屛 e Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.
Testo completo
7
Le, Cocq Jonathan. "French lute-song, 1529-1643". Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
Testo completoAbstract (sommario):
A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
8
Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.
Testo completoAbstract (sommario):
This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico.
9
Lefcoe, Andrew. "Kuhn's paradigm in music theory". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.
Testo completoAbstract (sommario):
Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
10
Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 1". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331433/.
Testo completoAbstract (sommario):
The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents
used in the study, and transcriptions of representative musical compositions.
11
Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 2". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332450/.
Testo completoAbstract (sommario):
The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents
used in the study, and transcriptions of representative musical compositions.
12
Raynes, Christopher David Harlow. "Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.
Testo completoAbstract (sommario):
The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertoire to the more usually programmed Renaissance works.
13
South, James 1957. "References to Trumpet Music in the Battle Chansons of Clement Janequin". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330664/.
Testo completoAbstract (sommario):
This paper is an examination of the battle chansons of Clement Janequin for references to Renaissance trumpet music. The following issues are addressed: dating the early use of the clarino register; the history and evolution of the courtly trumpet ensemble; and the transition from the shorter trumpet of the Middle Ages to the longer instrument of the middle Renaissance and Baroque eras. Because the earliest Janequin battle chanson predates all known written trumpet sources by over fifty years, musical evidence gleaned from these battle chansons can help to establish the existence and character of trumpet performance practices in the first third of the sixteenth century.
The first chapter summarizes all of the known primary sources of information on Renaissance trumpet performance, and identifies important issues worthy of further investigation. The second chapter examines trumpet music and trumpet style in the Renaissance, including trumpet ensemble performance, military trumpet calls, and the imitation of trumpet style in purely vocal music, and contains eight musical examples. The third chapter discusses the battle chansons of Janequin and their influence on other sixteenth-century works. Chapter £our analyzes the battle works of Janequin for allusions to trumpet music and includes eleven musical examples. The fifth and concluding chapter places the musical allusions into the context of trumpet history.
The musical references pointed out in these chansons provide the first musical evidence that trumpeters in the early sixteenth century were performing in the clarino register. Clear references to unequal articulation, military calls, characteristic: trumpet rhythms, and to the music of the courtly trumpet ensemble are demonstrated. The chansons also provide evidence of the simultaneous use of trumpets in at least two different keys, probably for two different styles of playing.
14
Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
Testo completo
15
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/.
Testo completoAbstract (sommario):
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.
16
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.
Testo completoAbstract (sommario):
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.
17
Gámez, Hernández Carlos. "Le Nuove Musiche: Giovanni Battista Bovicelli?" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30458/.
Testo completoAbstract (sommario):
This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli.
18
Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
Testo completoAbstract (sommario):
During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
19
Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
Testo completoAbstract (sommario):
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
20
Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation". Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.
Testo completo
21
Dumitrescu, Theodor. "The early Tudor court and international musical relations /". Aldershot [u.a.] : Ashgate, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016142806&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Testo completoAbstract (sommario):
Revised Thesis (doctoral)--University of Oxford, 2004.Foreign cultural models at the English royal court -- International events and musical exchanges -- Building a foreign musical establishment at the early Tudor court -- Anglo-continental relations in music manuscripts -- English music theory and the international traditions. Includes bibliographical references (p. [297]-315) and index.
22
Potgieter, Johann Hendrik Loedolff Smuts. "The initial years (ca. 1528-1565) of Claude le Jeune : Huguent and musical humanist". Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1007392.
Testo completoAbstract (sommario):
Claude Le Jeune (born at Valenciennes , ca. 1528; died at Paris, 1600) was a towering figure in French Renaissance music. In spite of this, few biographical details have survived the turmoils of his time , which was marked primarily by the Wars of Religion, the last years of the reign of the Valois, and the struggle of Henry IV for the crown of France. In order, therefore, to attain a more complete picture of Le Jeune's life and work, the general historical and spiritual background, circumstantial evidence, is considered more implicating much intensely than usual. The two dominating beacons in Le Jeune's life are his allegiance to the Reformed Faith , involving close connections to leading Huguenot figures, and his inclination towards Humanism, confirmed by his association, from 1570 onwards, with the Academie de Poesie et de Musique of Jean-Antoine De Baïf. The present study is concerned with the initial years of Claude Le Jeune, covering the thirty- seven years of his life from 1528 (the assumed year of birth) intil 1565. In terms of publications, this period includes his "youthful" works : four early chansons from 1552, the Dix Pseaumes with a dialogue for seven voices , Mais qui es-tu,of 1564, and a single motet à 3, Nigra sum sed formosa, published in 1565. The background of his northern homeland is screened with particular attention to the involvement of the members of the Le Jeune family in the religious affairs of the time. Also the general cultural and musical milieu of the Netherlands is investigated within this and Le Jeune's first published works are considered biographical framework. These works still bear the stodginess and gaucheness of an apprentice. The probability of a sojourn in Italy is explored with positive findings. This visit most likely brought Le Jeune within the circle of the ageing Willaert at Venice, Major focus is placed upon the Dix Pseaumes, the first comprehensive collection to appear entirely under Le Jeunes ' s own name and dominating the initial period of his creative life. Detailed analyses reveal the hand of a now asserted composer. well-versed in technical matters and in possession of a fine perception for both the tenets of Calvinism and the aspirations of musical Humanism . As far as the latter is concerned. pertinent attention is given to its roots in the rhetorical and philosophical traditions. and how Le Jeune accommodated issues which sprouted from these and occupied the theorists of his time. Musical text expression holds. since the Dix Pseaumes. a central place in Le Jeune's works in which he maintains a fresh and subtle approach steering clear of the dogmatism of some contemporary theorists. Using various musical devices (modes, chiavette, melody, rhythm, harmony, texture, and even structure) to serve text expression. Le Jeune' s parlance gradually develops a currency in its own right. often expressing the meaning or implication of a text more comprehensively than can be attained by means of a linguistic medium. Appropriate to this particular trait of development in language. recognition is given Le Jeune's musical language. Included into the discussion are concordances of works by other composers where these exist as well as references to the relevant musical topography. A concluding summary of the moulding forces in the initial years of Claude Le Jeune's life as well as the gradual formulation of his distinct musical language concludes this study which can be regarded as an introduction to a more comprehensive programme of research on the life, times and works of Claude Le Jeune, Huguenot and Musical Humanist. A general bibliography is included while the folling appendices are included. 1 . A Bibliography of the works of Claude Le Jeune (all printed editions from 1552-1775). complete with descriptions . text incipits. sources. and class nubers; 2 . some relevant documents; 3. the literary texts of the works discussed; and 4. the "youthful" works. all of these (except the chanson spirituelle. Mais qui es- tu,as yet not republished . Various portraits. maps and other relevant illustrations are intended to enhance the presentation.
23
Dobbs, Benjamin M. "A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804836/.
Testo completoAbstract (sommario):
Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and to provide a multifaceted context for situating Pleiades musicae in the culture of its time and place of origin, the present study examines both editions of the text from biographical, cultural, educational, philosophical, music-theoretical, and historical perspectives, and includes modern Latin editions and English translations of the two editions of the treatise.
24
Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
Testo completoAbstract (sommario):
Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.
25
Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.
Testo completoAbstract (sommario):
This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures.
In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.
26
McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.
Testo completoAbstract (sommario):
Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatise and provides context from within the intellectual discourse of the time. The first chapter explores the seventeenth-century conception of encyclopedias, as well as the possible meanings associated with an encyclopedia musica, a novel term Kircher uses in his preface to describe Musurgia. Kircher’s attempt to describe all that was known about music, from highly speculative theories to the most utilitarian compositional tools, results in a complex blend of philosophical and practical elements. The middle chapters disentangle a few strands from this web of ideas, tracing the development of Pythagorean traditions and speculative music theory, as well as changing attitudes regarding empirical and occult methodologies in the early modern period. The final chapter concerns Kircher’s central goal for Musurgia, an algorithmic method based on the ars combinatoria and the emerging mathematical field of combinatorics that would allow anyone to compose musical settings, including the setting of texts in any poetic meter and in any language. Kircher’s arca musurgica—a device that contained tables to generate music—was in effect a distillation of the rules of harmony and counterpoint in the seventeenth century. Its underlying syntax of standard four-part progressions stands at the juncture between old and new ideologies of music theory and composition.Music
27
Nelson, Bernadette. "The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century". Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:b736ca8f-0bb7-47a4-9ac4-2102b6cc3acb.
Testo completoAbstract (sommario):
Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the liturgy. Indeed, there is no monograph about organists and organ music in the Iberian peninsula as a whole. The overall aim of this thesis is to provide a musical background and liturgical context for short organ pieces called versos which were thoroughly integrated within a musical celebration of the Offices. For this end, a variety of musical and documentary material has been examined: practical sources of organ music; plainchant manuals; ceremonials and musical treatises. To an enormous extent this organ music was subject to long-standing liturgical customs and legislation, as well as to strongly defined traditions of musical composition. The prescriptions to the organist given in the ecclesiastical constitutions and how these may have been realized in the Canonical Hours and in the Mass constitutes the essence of part two of this thesis. This interpretation of musico-liturgical practices has entailed an examination of the relationship between plainchant and the organ verset and the technicalities of mode and tranposition which were involved when alternating the organ with choral plainchant. An analysis is also made of the musical development of versets based on the psalm-tones, organ hymns (the Pange lingua in particular) and the 'organ mass'. An anthology of transcriptions complementing this discussion is contained in a separate volume. As a counterbalance to the analytical discussion in part two, part one provides an historical and cultural background to the subject. An assessment is made of the contribution made by individual organists and organ 'schools' and some consideration is made of the extent to which both royal and ecclesiastical patronage was responsible for the livelihood of music and the arts.
28
Keuchguerian, Anait. "Haydn's early symphonic development sections and eighteenth-century theories of modulation". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.
Testo completoAbstract (sommario):
The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)
29
Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary". Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.
Testo completoAbstract (sommario):
The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these chapters with an English translation, commentary and introduction. Though the whole text was issued in a printed edition by the Orissa Sangeet Natak Akademi in 1966, the new edition offers substantial revisions and corrections to the published version. Eleven manuscripts have been examined; these are in Nagari, Bengali and Oriya scripts and are held in collections in Orissa, in other South Asian libraries, and in two British libraries. All of the manuscript evidence has been presented in a critical apparatus and in a section of supplementary textual notes. The commentary examines the technical contents of the work in detail and places the treatise within its Eastern Indian context. Special attention is drawn to certain subjects, for instance the account of compositional forms and metres, which represent a regional tradition, but all topics are placed also against the background of Sanskrit musicological traditions from other parts of India; some topics in the traditional sastra are thereby re-examined. In the introduction, the historical setting of the work is assessed, and the manuscript evidence is summarised. The proposed stemma codicum shows two groups of manuscripts, one from Orissa and one based in North India; manuscripts discovered in the future are expected to fit into one of these two.
30
Ballman, Christine. "Les oeuvres de Lassus mises en tablature pour le luth: catalogue - transcriptions - analyse". Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211492.
Testo completo
31
Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice". HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.
Testo completo
32
Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /". Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.
Testo completo
33
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.
Testo completoAbstract (sommario):
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.
34
Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.
Testo completoAbstract (sommario):
This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.
35
McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
Testo completoAbstract (sommario):
This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
36
Beasley, Douglas William. "Mus. Ms. 1511b: A Historical Review of a Lute Manuscript in the Herwarth Collection at the Bavarian Library, Munich". Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-4004.
Testo completo
37
Gilday, Patrick E. "Musical thought and the early German Reformation". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0ac3d705-c00e-4fc9-b90c-4902f9b54f8f.
Testo completoAbstract (sommario):
German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their positive expectation was dependent on a Germanocentric modernity narrative. Chapter 2 assesses Listenius' Musica (1537), the textbook in which the concepts of the musical work and musica poetica were expounded for the first time. I argue that, since Listenius' textbook was intended as a pedagogical tool, it is inappropriate to read his exposition of musica poetica and opus as if logical sentences on musical aesthetics. Part Two investigates the treatment of musica in the theology of early German Reformation disputants. Chapter 3 finds that Luther's early musical thought was borrowed from the late mediæval mystics, and resisted the influence of the Renaissance Platonists. Chapter 4 shows that, far from embracing humanist ideas of musical rhetoric, Luther's Reformed musical aesthetic became increasingly anti-rational and sceptical of music's relation to verbal meaning. Chapter 5 examines the discussions of music by the German Romanist polemicists. It finds that their music-aesthetic assertions were opportunistic attempts to situate the Lutherans outside the bounds of orthodoxy. The dissertation concludes that the discussions of music in early German Reformation texts ran counter to the general sixteenth-century trajectory towards a humanistic or modern aesthetic of music. It further argues that the aesthetic proposals of sixteenth-century German theologians should be taken seriously in the formation of our present-day picture of sixteenth-century musical thought.
38
Woodruff, Lawrence Theodore. "The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.
Testo completoAbstract (sommario):
While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphrased voice and the original chant, establishing points of observation that become the basis of melodic analysis. Then, these points are correlated with known rules of counterpoint. Exceptions are identified and examined for their potential to place emphasis on individual mode-defining pitches. A set of tools is derived for quantifying the relative strength of cadential actions. Levels of cadence are defined, ranging from full, structural cadences to surfacelevel accentuations of individual pitches by sixth-to-octave dyadic motions. These cadence levels are traced through the Missae de beata virqine repertoire from c. 1500-1520, a repertoire that includes masses of Josquin, Brumel, La Rue, Isaac, and Rener. While the Credos, based on two chant sources—one early (11th century) and one later (15th century)—showed little modal consistency, the Kyries show some suggestion of purposeful modal expression; and the Glorias show even greater implications. Results of the study have potential application in sixteenth-century music scholarship to such important issues as musica ficta, performance practice, text underlay, and form.
39
Smith, Jacob H. "Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.
Testo completo
40
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/.
Testo completoAbstract (sommario):
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."
41
Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.
Testo completo
42
Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.
Testo completoAbstract (sommario):
Orientador: John Manuel MonteiroTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T12:48:13Z (GMT). No. of bitstreams: 1 Wittmann_LuisaTombini_D.pdf: 9280509 bytes, checksum: 982a99d42f6dd98f9d11fbf5d1a2848b (MD5) Previous issue date: 2011
Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História
43
"Musica poetica in sixteeth-century reformation Germany". 2010. http://library.cuhk.edu.hk/record=b5896632.
Testo completoAbstract (sommario):
Wong, Helen Kin Hoi."December 2009."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 70-108).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.iii
Introduction --- p.1
Chapter Chapter 1. --- Luther´ةs Ideas about Music: A Historical Precursor to Musica Poetica --- p.7
Luther´ةs Educational Background --- p.7
Luther´ةs Aesthetic --- p.11
The Greek Doctrine of Ethos --- p.12
Biblical Reference to Music --- p.13
Luther´ةs Parting with the Church Fathers --- p.15
The Place of Music within Luther´ةs Theology --- p.16
The Function of Music within the Lutheran Theology --- p.17
Chorales --- p.19
The Use of Polyphonic Music in the Lutheran Liturgy --- p.21
Luther´ةs Views on the Importance of Music in Education --- p.23
Chapter 2. --- The Rise of Musica Poetica in Sixteenth-Century Lutheran Germany --- p.25
Definition of Musica Poetica --- p.33
"Heinrich Faber: De Musica Poetica, 1548" --- p.38
"Gallus Dressier: Praecepta Musica Poeticae, 1563" --- p.39
"Seth Calvisius: Melopoiia Sive Melodiae Condendae Ratio, Quam Vulgo Musicam Poeticam Vocant (Erfurt, 1592)" --- p.41
"Joachim Burmeister: Hypomnematum Musicae Poeticae, 1599" --- p.42
Chapter 3. --- Musica Poetica in the Lutheran Latin School: Rhetorically Inspired Compositional Instruction --- p.46
Teachers of Musica Poetica --- p.46
Students of Musica Poetica --- p.49
The Pedagogical Method of Musica Poetica:
Praeceptum-Exemplum-Imitatio --- p.54
Praceptum --- p.56
Exemplum --- p.60
Imitatio --- p.61
Chapter 4. --- Conclusion - Understanding Musica Poetica in Sixteenth-Century Lutheran Germany --- p.67
Religious Functions as Expressive Goals --- p.67
"From Context to Method, or Vice Versa" --- p.68
Bibliography --- p.70
44
Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony". Thesis, 1996. http://hdl.handle.net/2429/4836.
Testo completoAbstract (sommario):
Modern scholars have suggested various approaches to the
analysis of the pretonal repertory. However, if we consider
the question of how the individual voice parts interact in a
Renaissance polyphonic composition to create coherence for the
movement as a whole, we find that there are no tools available
to undertake such a task. We may be able to speak generally
of the arrival of certain moments as relatively accented or
unaccented; we may even be able to dissect a complete melodic
line with some segmentation process to highlight motivic
structure, phrase development or contour-articulated pitch
events. But there are no analytic strategies available yet
which are capable of disclosing the structures of independent
voice parts and their interaction as timepoint-accenting
elements capable of creating formal, rhythmic and pitch-class
patterns. This study outlines a methodology that has been
developed to deal with these specific issues.
The analytic strategy is based on the perception of
accents in individual voices of polyphonic works. The types
of accents germane to Renaissance polyphony include
durational, leap, contour, cadential and beginning-accents.
The study proposes a simple, bipartite classification of
accentual strength—strong or weak. Each voice part in a work
is then analyzed, with every pitch attack represented as
strongly or weakly accented through special notation developed
for the analysis.
The methodology affords a picture of the most strongly-
accented timepoints in the individual melodies of three- and
four-voice cantus firmus masses of the mid- to late fifteenth
century. The relative strengths of these accents, along with
their synchronization in the multi-voice aggregate, are
disclosed through the notation. After renotating scores with
this special notational symbology, we extract points of
coincident strong accents in three or more voices to create
accent profiles for each section of a movement. We then
compare profiles of same-texted works by different composers
in order to disclose normative formal and pitch-class
procedures in some Renaissance compositions.
45
Wagner, Samantha J. "A new perspective on David Lewin's interval function : the symmetrical IFUNC array". 2012. http://liblink.bsu.edu/uhtbin/catkey/1671229.
Testo completoAbstract (sommario):
This paper expands on the work of David Lewin, whose seminal work Generalized Musical Intervals and Transformations proposes, among other functions, the interval function or IFUNC. The interval function catalogs the type and number of directed pitchclass intervals between two different pitch-class sets. This paper proposes the concept of the IFUNC array, an ordered sequence of twelve digits representing the IFUNC values for an interval i = 0–11, reading either left to right or clockwise around a circle. It
explores features of the interval function, including symmetry in the IFUNC array, and
includes analysis of several excerpts from Anton Webern’s early atonal works. The paper addresses axes of symmetry, both in pitch-class sets and in interval functions.School of Music
46
E'Silva, Jorge Hayes. "The river conguest : colonial encounter in the N' dongo Kingdom of Central West Africa". Diss., 2011. http://hdl.handle.net/10500/5543.
Testo completoAbstract (sommario):
Portuguese global expansion was initiated by the capture of Cueta in 1415. Voyages of discovery along the West African coast ensued, resulting in the conquest and colonisation of the N’Dongo Kingdom. This dissertation comprises an archaeological survey of the Lusitanian Empire in the Republic of Angola. The Portuguese first established a settlement at Luanda in 1576, after which they set forth into the interior, following the Kwanza River upstream. The strategy for conquest was to take possession of the river with the objective to control the indigenous population, subjugate the N’gola, and, ultimately, to reach the silver mines at Cambambe. Various settlements developed along the margins of the river with associated forts and churches. Fortifications dominated the landscape while the churches expressed religious idealism. Social contact between the Mbundu people and the Portuguese at the colonial frontier is discussed. Post-colonial theory is used as the research methodology.Anthropology and Archaeology
M. A. (Archaeology)
47
E'Silva, Jorge Hayes. "River of Conquest : colonial encounters in the N' dongo Kingdom of Central West Africa". Diss., 2011. http://hdl.handle.net/10500/5543.
Testo completoAbstract (sommario):
Portuguese global expansion was initiated by the capture of Cueta in 1415. Voyages of discovery along the West African coast ensued, resulting in the conquest and colonisation of the N’Dongo Kingdom. This dissertation comprises an archaeological survey of the Lusitanian Empire in the Republic of Angola. The Portuguese first established a settlement at Luanda in 1576, after which they set forth into the interior, following the Kwanza River upstream. The strategy for conquest was to take possession of the river with the objective to control the indigenous population, subjugate the N’gola, and, ultimately, to reach the silver mines at Cambambe. Various settlements developed along the margins of the river with associated forts and churches. Fortifications dominated the landscape while the churches expressed religious idealism. Social contact between the Mbundu people and the Portuguese at the colonial frontier is discussed. Post-colonial theory is used as the research methodology.Anthropology and Archaeology
M. A. (Archaeology)