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Studies on the office antiphons of the Old Roman manuscriptsNowacki, Edward Charles. January 1981 (has links)
Thesis (Ph. D.)--Brandeis University, 1980. / Contains a complete inventory and transcription of the office antiphons in Ms. San Petronio B 79 of the Biblioteca Apostolica Vaticana, Rome.
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Save us who sing to you the form and function of the three antiphons of the divine liturgy /Rolando, Sloan. January 2003 (has links)
Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).
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Save us who sing to you the form and function of the three antiphons of the divine liturgy /Rolando, Sloan. January 2003 (has links) (PDF)
Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).
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Save us who sing to you the form and function of the three antiphons of the divine liturgy /Rolando, Sloan. January 2003 (has links)
Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2003. / Abstract. Includes bibliographical references (leaves 97-100).
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A study of the ornate antiphons in MS. Vat. lat. 5319Colk, Alma Lorraine January 1971 (has links)
To date, there has been no detailed or comparative analysis of the repertory known as the Old-Roman Chant. Although the historical and liturgical problems created by the recent discovery of this repertory may be found in scattered writings, no one has published a detailed study of the music itself. Those that have written on the Old-Roman melodies have confined their attention to isolated examples.
This study is concerned with the Introits, Offertories,
and Communions of MS Vat. lat. 5319, an Old-Roman Graduale which dates from the late eleventh century. Whenever
possible, a comparison has been made with their Gregorian counterparts. The introduction summarizes the basic, historical study of the Old-Roman repertory; the three main chapters treat each antiphon cycle in turn; and the final chapter places the work of this thesis in an overall context.
That we are dealing with an early repertory is indicated by such features as the close relationship between the Communion antiphons and their verses and the striking uniformity in cadential patterns. Although the Old-Roman version bear a close musical relationship to the
Gregorian, certain evidence indicates that they are earlier. The basic form of all the Old-Roman Mass antiphons
is clearly a recurring psalm-tone formula which usually appears in an ornamented form throughout the chant. This feature is not as evident in the Gregorian melodies and may well be a link to an earlier oral tradition. An example is offered for the difference in melodic style between the Old-Roman Introits, Offertories, and Communions. The Offertories and Communions can be seen as elaborations of earlier simpler forms still represented by the Introits. In short, the ornate antiphons of MS Vat. lat. 5319 are shown to be, basically, redactions prior to their Gregorian counterparts. / Arts, Faculty of / Music, School of / Graduate
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Selected antiphons of Hildegard von Bingen : notation and structural designBain, Jennifer, 1967- January 1995 (has links)
The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."
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Selected antiphons of Hildegard von Bingen : notation and structural designBain, Jennifer, 1967- January 1995 (has links)
No description available.
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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African
Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It
is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse
of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an
extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the
Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world
intended for musical performance to contain the Ter terni by William of Hirsau; furthermore
it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et
dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy
of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is
shown that, although a marked textual similarity exists between the manuscripts, there are
variant melodies. The conclusion is therefore drawn that the Carthusians did not have a
single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS
Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same
exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34
and 41, ot the neighbouring Charterhouse of Fontenay.
The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers,
written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated
1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The
presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23.
The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de
Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles
at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed
are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)
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Three unknown Carthusian liturgical manuscripts with music of the 14th to the 16th centuries in the Grey Collection, South African Library, Cape TownSteyn, Frances Caroline 11 1900 (has links)
Of the three manuscripts that form the basis of this thesis, MS Cape Town, South African
Library, Grey 4c7 is, in musicological terms the most important of the three manuscripts. It
is a complete Carthusian Antiphonary, of the late 14th century, written for the Charterhouse
of Champmol, near Dijon, the mausoleum of the Dukes of Burgundy. It also contains an
extensive Tonary, a Hymnary and a Kyriale. The two didactic verses which form part of the
Tonary are of particular importance, since MS 4c7is one of the few manuscripts in the world
intended for musical performance to contain the Ter terni by William of Hirsau; furthermore
it is apparently the only Carthusian manuscript of any kind to contain the Oyapente et
dyatessaron by Hucbald. The manuscript is placed in the context of the Carthusian liturgy
of the 12th to the 16th centuries and is compared with 33 manuscripts of this period. It is
shown that, although a marked textual similarity exists between the manuscripts, there are
variant melodies. The conclusion is therefore drawn that the Carthusians did not have a
single exemplar for the melodies in their liturgical books. It is shown that MS 4c7 and MS
Oijon, Bibliotheque municipale 118, also written for Champmol, were copied from the same
exemplar and that they are closely related to MSS Beaune, Bibliotheque municipale 27, 34
and 41, ot the neighbouring Charterhouse of Fontenay.
The second manuscript, MS Grey 3c23, an Antiphonary for nuns, for Lauds and Vespers,
written for the Charterhouse of Mont-Sainte-Marie, at Gosnay, near Arras, has been dated
1538 by the original scribe. This manuscript is almost identical to MS AGC C II 817. The
presence of a Sequence, foreign to the Carthusian tradition, is however unique toMS 3c23.
The third manuscript, MS Grey 6b3, is an Evangeliary, signed by the scribe, Amelontius de
Ercklems, in 1520. Its provenance is the Charterhouse of Our Lady of the Twelve Apostles
at Mont-Cornillon near Liege. Musicological features of the manuscript which are discussed
are the Hymn 'Te decet laus', and the accent neumes at the ends of pericopes. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)
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