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Mozart's Salzburg Masses and the Mass in C minor, K. 427.January 2008 (has links)
Mok, Kiu Ho. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 128-137). / Abstracts in English and Chinese. / LIST OF TABLES --- p.vii / LIST OF MUSICAL EXAMPLES --- p.x / Introduction --- p.1 / Chapter Chapter 1. --- Tradition of Church Music in Salzburg before W. A. Mozart --- p.8 / Missa Brevis in Salzburg before W. A. Mozart --- p.19 / Missa Solemnis in Salzburg before W. A. Mozart --- p.25 / Missa Brevis et Solemnis in Salzburg before W. A. Mozart --- p.33 / Chapter Chapter 2. --- Mozart´ةs Salzburg Masses --- p.40 / Personal and Musical conflicts between Mozart and Colloredo --- p.41 / Mozart´ةs Salzburg Masses and Momentary Breakthrough --- p.48 / Chapter Chapter 3. --- "Mozart´ةs Mass in C Minor, K. 427" --- p.65 / Leopold Mozart´ةs Aesthetic Preferences --- p.69 / "Mozart´ةs Mass in C Minor, K. 427: Overview" --- p.83 / "Mozart's Mass in C Minor, K. 427: Old Style" --- p.95 / "Mozart´ةs Mass in C Minor, K. 427: New Style" --- p.100 / Conclusion --- p.119 / Appendix / The Latin Text of the Ordinary Movements of the Mass --- p.123 / Bibliography --- p.126
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The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and OthersWilliams, Jeffrey P. 08 1900 (has links)
The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.
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