Thesis (Ph. D.)--Faculty of Arts, Elder Conservatorium of Music, University of Adelaide, 1990.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 349-354).

Thesis (Ph. D.)--Vanderbilt University, 1930. / Without thesis note. Bibliography: p. 225-229.

Thesis (M.A.)--Eastern Illinois University, 2010. / Includes bibliographical references (leaves 112-119).

xvii, 303 p. : ill., music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Faculty of Arts, Elder Conservatorium of Music, University of Adelaide, 1990

Thesis (M.A.)--Eastern Illinois University, 2008. / Subtitle on abstract: Appetite in the construction of identity in the writing of William Byrd II and Thomas Jefferson. Includes bibliographical references (leaves 71-75).

The sacred anthem has had a unique conception and development that compares readily to that of other major forms of sacred music. Since an abundance of this music is used in our services, it is the purpose of this study to trace the history of the anthem from its origin in the early Tudor period to its culmination in the works of William Byrd. A special study will be made of the anthems by this master of the form.

v.1. Text (246 leaves) -- v.2. Figures and musical examples (145 leaves) / William Byrd's motets with Latin text are a little-known contribution to the sacred vocal repertoire. Most important among these works are three books of Cantiones Sacrae, published 1575, 1589 and 1591, respectively. The 1589 Cantiones Sacrae was Byrd's first harvest from a backlog of motets that had been accumulating since 1575. This collection lies at a midpoint between Byrd's earliest published works and his full maturity, as seen in the Masses of 1592--95. / This study will describe the contrapuntal strategies that characterize Byrd's 1589 Cantiones. I will examine Byrd's deeper-level tonal organization and its derivation from cantus firmus technique. I will show how Byrd uses musical material in cantus firmus values (the breve and semibreve) to shape his subject material and his cadence points, and how this shaping plays out over the course of an imitative point. / I will then examine Byrd's introductory gestures in the 1589 Cantiones, identifying 24 presentation types that characterize different degrees of beginning. These types contain one or more melodic subjects in a recurring temporal relationship, and form a vertical interval pattern or harmonic motive. Next, I will discuss Byrd's variation techniques by which he develops these presentation types: textural change, transposition, melodic inversion and invertible counterpoint. Byrd's presentation and variation of subject material divides an imitative point into distinct phases of tonal and contrapuntal activity, providing insight into its overall form and tonal design. / Finally, I will apply these analytical tools to a complete analysis of Tristitia et anxietas, from the 1589 Cantiones, thereby showing how Byrd establishes central pitches in the middleground. Through this analysis, I will summarize Byrd's contrapuntal strategies, both long-range and local, that typify his middle-period sacred vocal style, as viewed through the lens of the 1589 Cantiones Sacrae.

v.1. Text (246 leaves) -- v.2. Figures and musical examples (145 leaves)

This thesis is a study of the usage of sixteenth-century polyphonic devices as employed by the English composer William Byrd and the Italian composer Pierluigi Palestrina. Both men represented a culmination of sixteenth-century contrapuntal composition in their respective school and period, Byrd of the Renaissance Tudor period, and Palestrina of the Roman school and Renaissance period. Palestrina's work became a pattern for sacred Roman music during the late Renaissance because of its consistency, its origin in the modes, and its compositional style. As it became a popular standard for Latin liturgical music, Catholic composers of all nationalities began to use it as a guide for their writing. At this time in England, one such young composer named William Byrd began to emulate Palestrina. Up to this time few of the English composers had taken advantage of the progress made by the musicians of the Netherlands school. These two composers lived about the same time, and their vocal works are quite comparable, yet there was never any known contact between them. There seem to be some notable differences, but each of these is as consistent as the similarities. Both men were prolific writers of motets, which mirrored all of the Roman Catholic Church activities in an ecclesiastical year. Twelve motets by each composer, six from the early works and six from the late works of each, were chosen for contrast and comparison. In his book, Direct Approach to Counterpoint in 16th-Century Style, C.F. Soderlund set forth a conclusive and concise set of rules which he felt particularly characterized the music of Palestrina. A select group of rules or practices, some pertaining to the melodic line and others concerned with dissonances, was chosen from Soderlund's book to be used as a basis for comparison and contrast of the motets of Palestrina and Byrd.