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Статті в журналах з теми "Renaissance polyphony"
Williamson, Magnus. "Renaissance polyphony." Early Music 33, no. 4 (November 1, 2005): 717–21. http://dx.doi.org/10.1093/em/cah173.
Повний текст джерелаFitch, Fabrice. "Sacred Renaissance polyphony." Early Music XXIII, no. 1 (February 1995): 165–66. http://dx.doi.org/10.1093/earlyj/xxiii.1.165.
Повний текст джерелаDeford, Ruth. "Analysing Renaissance polyphony." Early Music XXVIII, no. 2 (May 2000): 316–18. http://dx.doi.org/10.1093/earlyj/xxviii.2.316.
Повний текст джерелаGreavu, Elena-Laura, and Roxana Pepelea. "Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 143–58. http://dx.doi.org/10.24193/subbmusica.2021.1.10.
Повний текст джерелаМосква, Ю. В. "Gregorian Semiology as a Method of Modal Identification in Early and Renaissance Polyphony." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 108–21. http://dx.doi.org/10.26176/mosconsv.2017.31.4.04.
Повний текст джерелаMeconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.
Повний текст джерелаMeeùs, Nicolas. "Aspects of Modality in Renaissance Polyphony." Musurgia XXVI, no. 2 (2019): 11. http://dx.doi.org/10.3917/musur.192.0011.
Повний текст джерелаUpham, Finn, and Julie Cumming. "Auditory Streaming Complexity and Renaissance Mass Cycles." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 202–22. http://dx.doi.org/10.18061/emr.v15i3-4.7980.
Повний текст джерелаKeyl, Stephen. "Tenorlied, Discantlied, Polyphonic lied: Voices and instruments in German secular polyphony of the Renaissance." Early Music XX, no. 3 (August 1992): 434–46. http://dx.doi.org/10.1093/earlyj/xx.3.434.
Повний текст джерелаWickham, Edward. "Realization and Recreation: Texting Issues in Early Renaissance Polyphony." Journal of the Alamire Foundation 3, no. 1 (January 2011): 147–66. http://dx.doi.org/10.1484/j.jaf.1.102197.
Повний текст джерелаДисертації з теми "Renaissance polyphony"
Lese, Amy. "Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19281.
Повний текст джерелаWilde, Howard Lionel. "Towards a new theory of voice-leading structure in sixteenth-century polyphony." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283526.
Повний текст джерелаJohnson, Nicholas. "Musica Caelestia: Hermetic Philosophy, Astronomy, and Music at the Court of Rudolf II." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354712996.
Повний текст джерелаIafelice, Carlos Henrique Cascarelli [UNESP]. "O conceito das protoformas do cânone: aspectos históricos, terminológicos e processos composicionais no século XVI." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/134238.
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Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o ‘conceito das protoformas do cânone’, que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história.
Based from three axes of polyphony’s knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon’s protoforms', which consists of five matrices or forms-based synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study’s exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history.
Gilles-Chikhaoui, Audrey. "D'une voix l'autre : plaisirs féminins dans la littérature française de la Renaissance." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3083.
Повний текст джерелаThe study of feminine pleasures in the sixteenth-century French literature leads to a multiplicity of representations. All of them coincide with the idea of honesty. Because of a strong misogynist ideology, women could hardly reconcile these social and moral requirements with the notion of pleasure. Nevertheless, the texts studied in this thesis (narratives, poems, essays and treatises) show a dynamic between feminine and masculine voices that gives way to new discourses on pleasure. The first part focuses on pleasure within marriage. Be it within their relationship with their spouses or in adultery, feminine sensual pleasure was considered both an honest need and a déviance. The second part deals with social pleasures: public amusements (from dance to conversations) as well as encounters between lovers, which were influenced by amour courtois, neoplatonism, and, petrarquism. The third part, dedicated to the self, breaks away from the social morals attached to the first two parts in order to study pleasure as self-accomplishment through motherhood, knowledge, spirituality and writing
Boutet, Anne. "Les recueils français de nouvelles du XVIe siècle, laboratoires des romans comiques." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2019/document.
Повний текст джерелаRead short stories from XVIth french century, it’s like reading fancy stories or recreations, far away from Rabelais’books. However, this unsettled literature has a « grande variété de formes narratives qui témoignent de [s]a souplesse et de [s]a plasticité […], laboratoire des expériences romanesques à venir » (D. Souiller, La nouvelle en Europe de Boccace à Sade). It’s difficult, indeed, to give a set generic identity at these texts. Without contemporary arts of poetry, modern critics suggest debatable definitions. Too restrictive or partial, those definitions end up at a compromise : to give main characteristics (brevity, moral, good trick, good word, « realism », etc.) without make a clear distinction with close narrative forms (« discours bigarrés », « histoires tagiques »). Yet, there is another path : take the point of view of « romans comiques »’ authors in order to take advantage of a writing fed from Renaissance’s storytellers and of a reading closer with XVIth century’s readers, that is to say refine modern studies in order to draw up the first list of reliable and operating generic criteria
Reimer, Sarah. "Musical borrowing and formal organization in Renaissance polyphonic mass cycles." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61346.
Повний текст джерелаArts, Faculty of
Music, School of
Graduate
Dufourcet, Marie-Bernadette. "Les hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Paris 4, 1988. http://www.theses.fr/1988PA040050.
Повний текст джерелаThe analysis of the pange lingua hymns composed in europe in the 15th and 16th centuries allows us to examine in detail the general tendencies of the religious repertoire of the period. Examples of this include the increasing number of voices, the rise of the imitative style, the decline of the use of the cantus firmus in long note values, towards a cantus firmus integrated into the polyphony, the development of the musical language towards a balance between counterpoint and harmony, modal and tonal feeling, the progressive incorporation of the major third in final chords, and, on the prosodic level, the will to make the words more perceptible and to respect the latin accentuation in the post-tridentine works. Finally, the instrumental pange lingua illustrate, representatively, the different stages of the stylistic liberation of the instrumental repertoire with regard to the vocal writing
Dufourcet, Marie-Bernadette. "Les Hymnes "Pange lingua" dans la polyphonie vocale et instrumentale à la Renaissance." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376133871.
Повний текст джерелаMichaud, Philippe. "La chanson polyphonique française de la renaissance ca 1470-ca 1550 : les avatars du populaire." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82934.
Повний текст джерелаКниги з теми "Renaissance polyphony"
Heinrich Isaac and polyphony for the proper of the mass in the Late Middle Ages and Renaissance. Turnhout: Brepols, 2011.
Знайти повний текст джерелаBurn, David, and Stefan Gasch, eds. Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and the Renaissance. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.6.09070802050003050402040902.
Повний текст джерелаCeccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.
Повний текст джерелаLate Renaissance music at the Habsburg Court: Polyphonic settings of the Mass Ordinary at the Court of Rudolf II, 1576-1612. New York: Gordon and Breach Science Publishers, 1987.
Знайти повний текст джерелаComberiati, Carmelo Peter. Late Renaissance music at the Habsburg Court: Polyphonic settings of the mass ordinary at the court of Rudolf II (1576-1612). New York: Gordon & Breach, 1987.
Знайти повний текст джерелаRenaissance Polyphony. University of Cambridge ESOL Examinations, 2020.
Знайти повний текст джерелаFitch, Fabrice. Renaissance Polyphony. University of Cambridge ESOL Examinations, 2020.
Знайти повний текст джерелаFitch, Fabrice. Renaissance Polyphony. University of Cambridge ESOL Examinations, 2020.
Знайти повний текст джерелаClark, Kate, and Amanda Markwick. The Renaissance Flute. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.001.0001.
Повний текст джерелаSnow, Robert J. A New-World Collection of Polyphony for Holy Week and the Salve Service: Guatemala City, Cathedral Archive, Music MS 4 (Monuments of Renaissance Music). University Of Chicago Press, 1996.
Знайти повний текст джерелаЧастини книг з теми "Renaissance polyphony"
Cariani, Sergio. "Sala Della Vigna at Belriguardo. A Polyphony of Proportions That the Renaissance Mind Comprehended and the Renaissance Eye was Able to See." In Putting Tradition into Practice: Heritage, Place and Design, 303–11. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57937-5_32.
Повний текст джерелаBurn, David J., and Stefan Gasch. "Chant Adorned: The Polyphonic Mass Proper in the Later Middle Ages and Renaissance." In Epitome musical, 25–30. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.4.9001.
Повний текст джерела"Introducing Renaissance polyphony." In Renaissance Polyphony, 1–8. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.001.
Повний текст джерела"Making polyphony: sources and practice." In Renaissance Polyphony, 9–23. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.002.
Повний текст джерела"Makers of polyphony." In Renaissance Polyphony, 24–45. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.003.
Повний текст джерела"Pitch: an overview." In Renaissance Polyphony, 46–65. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.004.
Повний текст джерела"Voice-names, ranges, and functions." In Renaissance Polyphony, 66–82. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.005.
Повний текст джерела"Mensural notation, duration, and metre." In Renaissance Polyphony, 83–95. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.006.
Повний текст джерела"Genre, texts, forms." In Renaissance Polyphony, 96–108. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.007.
Повний текст джерела"‘Cantus magnus’: music for the Mass." In Renaissance Polyphony, 109–19. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781139017299.008.
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