Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Diss.--Philosophie--Princeton--University, 1997. / 2 tomes en 1 vol. Bibliogr. p. 500-552.

Diss.--Philosophie--Ithaca, N.Y.--Cornell Univ., 1998. / Bibliogr. p. 249-262.

Diss. : Musikwissenschaft : Zürich : 1981. - Bibliogr. p. 250-255. -

Th. Etat--Musicologie--Paris-Sorbonne, 1992. / Liste des livres de musique séquestrés à Venise par la Commission française en octobre 1797 et restitués par les français aux vénitiens en octobre 1815 f. 823-835. Bibliogr. f. 704-802. Index.

Diss.--Musikgeschichte--Saarbrücken, 1980. / Bibliogr. p. 403-416. Notes bibliogr.

Cette thèse de doctorat vise à comprendre quel peut être l’apport du chant dans la construction sociale et identitaire d’un ensemble fermé en dégageant les différentes fonctions de ce répertoire. Elle a également pour objectif d’analyser la mesure dans laquelle il intervient dans l’intégration des personnels ainsi que l’impact qu’il peut avoir sur la cohésion des groupes. En ce sens, une place importante a été donnée à l’analyse des aspects contextuels et humains du chant, tels que le rapport au corps dans les pratiques rituelles.Souhaitant aborder les différents enjeux du chant au sein de l’institution, le corpus sur lequel s’appuie cette recherche est assez large et regroupe aussi bien des pièces officielles qu’intimistes. Pour avoir une vision précise du répertoire militaire et interroger sa fonctionnalité, une enquête de terrain a été menée principalement au RICM implanté à Poitiers et au 6e BIMa basé à Libreville. Le choix d’une limitation aux Troupes de Marine est motivé par la spécificité de cette arme, l’une des plus présentes sur les théâtres d’opérations. Ainsi, l’étude des activités rituelles et musicales de la population militaire en situation conflictuelle et post-conflictuelle était possible, en plus d’aborder la place des pratiques chantées dans le quotidien de la vie de garnison. L’étude laisse notamment apparaître que le besoin d’une importante cohésion du groupe est l’une des principales motivations de l’interprétation des chants pendant et en dehors du service. Elle montre également que cette pratique vocale fait partie intégrante de la culture militaire et qu’elle permet la revendication d’une identité collective. / This Ph. D. thesis aims at understanding what can be the contribution of song in the social and identity building up of an introverted group by clearing the various functions of this repertoire. It also purposes the objective of analysing the measure in which it intervenes in people integration as well as the impact it can have on groups’ cohesion. Thus, an important place has been given to the analysis of contextual and human singing aspects, such as the relation to the body in ritual practices.Wishing to approach the various stakes of singings in the institution, the corpus on which this research is leaning on is quite wide and gathers official songs as well as intimist ones. To get an accurate vision of the military repertoire and question its feature, a survey has mainly been carried out within the RICM located in Poitiers and within the 6th BIMa based in Libreville. The choice of a restriction to the Troupes de Marine is justified by the specificity of this arm, one of the most present on the theatre of operations. So, the study of ritual and musical activities of the military population in conflicting and post-conflicting situation was possible, besides approaching the place of sung practices in the daily garnison life. The study particularly permits to enhance that the need of an important cohesion of the group is one of the main reasons of songs within ans apart from the duty. It also shows that this vocal practice is an integral part of the military culture and that it allows the claiming of a collective identity.

This dissertation provides the first full-scale musicological study of Stuttgart 95, a thirteenth-century song book, formerly thought to be from the abbey of Weingarten. Upon further examination, it is clear that rather than a single unified corpus of Latin songs, the musical portions are composed of three separate layers. Furthermore, I argue that these layers were best understood as separate entities. This delineation between writing campaigns indicates that the original musical project likely constitutes a mostly intact collection, with only one or two folios missing from the beginning of the codex. Moreover, the song repertoire in the first layer is partially comprised of addenda entered into other Engelberg liturgical manuscripts, mainly at the close of the twelfth and beginning of the thirteenth century, shortly before the manufacture of Stuttgart 95. I focus, in particular, on the first layer of its musical corpora, arguing that the earliest stratum in this composite manuscript points to the double cloister of Engelberg as a likely provenance. As a collection of addenda, it demonstrates that musicians in Engelberg actively collected pieces that addressed Mary, the community’s patrona. I first discuss the consistent use of majuscule and rubrication to visually highlight the name of Mary amidst its surrounding text. Furthermore, I demonstrate that Mary along with each of these additional saints had liturgical ties to the double house of Engelberg; Mary was the monastery’s patrona, and the additional figures were either especially venerated at Engelberg or were the namesakes for dedicated altars or chapels in joint community’s churches.

abstract: This paper is an exploration of the potential benefits of an all-women’s chant group. A mixed-methods study using a Community Music Therapy approach informed by Feminist Music Therapy Theory sheds light on the questions: How are individuals’ resilience affected by participation in a multi-session Women’s Chant Group? How does participation in a single-session Women’s Chant Group affect an individual’s mood? Which elements of a Women’s Chant Group are perceived to be the most important to the participants? No statistical significance was found in participants’ resiliency from the beginning to end of the study, although a higher sample size may yield more promising results. The Women’s Chant Group sessions demonstrated a considerable positive impact on the mood of the participants, specifically in reducing feelings of anxiety and increasing feelings of relaxation. Participants found the experience of creating aesthetic, complex, high-quality vocal music to be the most important element of the Women’s Chant Group. Recommendations are made for future research into the area of Women’s Chant Groups. / Dissertation/Thesis / Masters Thesis Music Therapy 2017

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T19:33:59Z (GMT). No. of bitstreams: 1 Lopes_ManoelRobertoBatista_M.pdf: 5112355 bytes, checksum: 00f561e34792e533e5269656cb164fdb (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa teve por finalidade desenvolver considerações sobre a presença de temas do Canto Gregoriano em quatro importantes obras orquestrais de compositores da música ocidental. Dentro de um rico universo de composições polifônicas inspiradas no antigo estilo monofônico gregoriano, quatro obras significativas foram selecionadas para um estudo detalhado. O tipo de acompanhamento e encaminhamento harmônico a cada melodia gregoriana e a maneira como estas melodias não isócronas foram enquadradas na barra de compasso foram comentados em cada caso. Concluiu-se que o canto gregoriano, apesar de pouco praticado durante o período compreendido entre os séculos XII e XIX e também pouco praticado desde o último quarto do século XX, mas com uma rica tradição, sempre inspirou importantes compositores ao longo do tempo, deixando um legado que influenciou compositores até a época atual / Abstract: The aim of this research is to bring about important considerations about the use of gregorian chant themes in four important orchestral works by western music composers. These four works were selected within a rich universe of polyphonic compositions inspired in the early gregorian monophonic style. In each case, the type of accompaniment and harmonic flow to the gregorian melody were analyzed as well as the manner by which these non-isochronous melodies have been adjusted to the bar line. As conclusion, one can notice how Gregorian Chant despite its modest pratice during the period between the XII and XIX centuries and also since the last quarter of XX century on, has always inspired important composers throughout time and has left a rich legacy that has influenced composers to this day / Mestrado / Mestre em Música