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1	A History and Survey of the Baroque Motet for One Solo Voice Outside of Italy Bolton, Thomas W. (Thomas Wayne) 05 1900 (has links) During the Baroque Era (1600-1750) many motets were written for one solo voice, representing a major departure from the polyphonic motet settings which had been produced since before 1250. The study traces the development of the solo motet from it s first appearance in the Centro concerti ecclesiastici of Lodovico Grossi do Viadana in 1602 up to 1750, when the style began to deteriorate along with the Neapolitan opera style. motets music history 18th century music solo vocal music
2	A French music aesthetic of the eighteenth century: a translation and commentary on Michel Paul Gui de Chabanon's Musique considérée en elle-même et dans ses rapports avec la parole, les langues, la poésie, et le théâtre Lyall, Harry Robert 12 1900 (has links) This annotated translation of Chabanon's Musique considérée with accompanying analysis seeks to establish the aesthetic principles expressed in his book as a significant and independentdeparture from the musical doctrines which prevailed in eighteenth-century France. philosophy and aesthetics 18th century music French music music history
3	Napoleon and British popular song, 1797-1822 Cox Jensen, Oskar January 2014 (has links) Existing studies of popular culture and popular politics in the long eighteenth century over-favour either the ‘culture’ or the ‘politics’. This thesis contributes to debates on the making of both national and class identity in Britain via intensive analysis of popular song culture, in the context of the Napoleonic Wars. Portrayals of Napoleon himself are used to shape the thesis’ source material and the forms of discussion. It argues for the necessity of sympathetic, informed contextualisation of political issues within contemporary cultural processes: that an understanding of the composition/production and performance/ consumption of song is a prerequisite of determining songs’ relevance and reception. In so doing, it uncovers a nuanced array of attitudes towards both Napoleon and British patriotism, of unsuspected breadth, assertiveness, and idiosyncrasy. The thesis is divided into two stages of argument. Part I consists of a close and contextualised reading of songs as literary and musical objects. Chapter One, after close historiographical engagement that moves to a focus on Colley’s Britons and revisionist arguments about British society, discusses those songs originating after Waterloo. Chapter Two considers songs from 1797-1805. Chapter Three considers songs from 1806-15. Part II builds upon the themes and conclusions of Part I by situating these songs within a lived context. Chapter Four looks at the role of songwriters and printers; Chapter Five at singers; Chapter Six at audiences and reception. Chapter Seven elaborates the overall argument in a synoptic case study of Newcastle. The conclusion is followed by an appendix, listing the songs most pertinent to the thesis, giving additional bibliographical information. A hard copy (USB) of recordings of a representative selection of these songs is also included. These appendices reinforce the thesis’ methodology: to consider songs, not as passive evidence of expression, but as active, dynamic objects. 781.63094109033
4	Georg Joseph Vogler (1749-1814) and His Jesuit-Influenced "System" of Harmony Donley, Douglas Michael 08 1900 (has links) This dissertation reexamines the music-theoretical writing of Georg Jospeh Vogler (1749-1814) in light of his educational background. His system, which is often characterized as "awkward" or "self-contradictory," is actually indicative of the rationalist/humanist preferences of Vogler's main source of training: the Jesuit Order. I argue that Vogler's theories and compositional style have been marginalized, partially due to their incompatibility with the more prevalent systems of his era, which were predominantly based in empirical modes of thought. Georg Joseph Vogler Vogler music theory Jesuit Jesuit influence 18th-century music German Aufklärung Aufklärung Vogler, Georg Joseph, 1749-1814. Music theory. Jesuits. Academic theses
5	'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850 Kennerley, David Thomas January 2013 (has links) Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them. 780.82
6	The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology Smith, Felicity January 2008 (has links) Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739). Rene Drouard de Bousset (1703-1760) 18th century music French music studies French composers studies French musicians studies Musical criticism
7	Seven Movements from "Missa Festiva" (1817) of Marcos Portugal (1762–1830): A Vocal Score with Critical Commentary Brites Pereira David Coelho, Júlia 05 1900 (has links) Marcos António da Fonseca Portugal (1762–1830) is considered by several Luso-Brazilian musicologists to be the most prolific and influential Portuguese composer in history, having impacted the Portuguese and Brazilian music scene significantly during his lifetime. Marcos Portugal achieved international fame for his large-scale works, which include sacred compositions, Italian opera seria, as well as farsas and opera buffa in Portuguese. Despite the reputation he achieved during his lifetime, today his works are understudied and underperformed, even in Lusophone countries. Such an oversight is noticeable particularly as regards his sacred music corpus. For this reason, I have chosen Missa Festiva (1817) as the subject of this dissertation. Creating a vocal score of the solo, duo and trio movements of Missa Festiva will be helpful not only for performers, but also for scholars and conductors who wish study this work. A vocal score makes accessible the performance of individual movements when only piano, organ, or another keyboard instrument is available. By facilitating the performance and analysis of Missa Festiva, this document will contribute to the work's dissemination and to a better understanding of the value of early nineteenth-century Luso-Brazilian virtuosic vocal sacred music. The manuscript used for the transcription and orchestral reduction into a vocal score of movements III-IX is BR-Rcm MS CRI-SM59 from the Acervo Musical do Cabido Metropolitano do Rio de Janeiro, from 1818 (images included in the dissertation). Marcos Portugal MarcosPortugal Portugal Lusophone Portuguese Brazilian Luso-Brazilian Lusófono Marco Portogallo MarcoPortogallo Portugues Brasileiro Musica Luso-Brasileira Luso-Brazilian Music Joao VI JoaoVI Pedro I PedroI Brasil Brazil Missa Festiva MissaFestiva Sacred Music SacredMusic Musica Sacra MusicaSacra Mass 18th-Century Music 19th-Century Music Castrato Castrati Virtuosity Portuguese Court PortugueseCourt Score VocalScore Vocal Score Piano Score Transcription Reduction Critical Edition CriticalEdition Music Musical Performances
8	Hudební kultura v konventu alžbětinek na Novém Městě Pražském / Music Culture of the Elisabethan Convent in Prague Michl, Jakub January 2018 (has links) Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...

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