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Thesis (M.Ap.C.T. & M.)--Cleveland State University, 2008. / Abstract. Includes bibliographical references (p.71-86). Available online via the OhioLINK ETD Center. Also available in print.

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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Thesis (M.M.)--Boston University

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.