Thesis (Ph. D.)--Columbia University, 1980. / Typescript. "Appendix A: A listing of scrivener fiction": p. 377-388. Includes bibliographical references (p. 389-401).

Thesis (D.M.A.)--University of Oklahoma, 1991. / Includes bibliographical references (leaves 443-482).

Bien que le répertoire musical liturgique provenant des missions fondées par la Compagnie de Jésus à partir de la deuxième moitié du XVIIème siècle parmi les Indiens Moxos, dans le nord-est de l’actuel État Plurinational de Bolivie, soit considéré comme une grande richesse du patrimoine de la musique baroque latino-américaine, exaltant l’entreprise évangélisatrice, l’implication des indigènes des réductions jésuites dans cette production, ainsi que l’interprétation et la valeur mystique et sociale qu’ils octroyèrent à la musique à partir de l’expulsion de la compagnie de Jésus des territoires espagnols en 1767 et jusqu’à maintenant, restaient à découvrir et analyser. La musique est pour les indigènes Moxos une représentation intrinsèque de la foi et de leur société. L’attachement à une incessante pratique musicale de la part des descendants des Indiens des missions, ainsi que la richesse des traditions orales superposées à l’art rituel moxéen, qui consiste à copier des documents musicaux et religieux, se révèlent être des expressions rituelles et politiques qui permettent d’envisager une historiographie musicale des Moxos à partir du témoignage indigène. Les milliers de copies de partitions et de cahiers de catéchisme nés de la plume des copistes Indiens sont préservés et utilisés comme des reliques qui prouvent l’appartenance indigène à une culture des missions, et l’empreinte de la pédagogie jésuite de la Ratio studiorum. Ils sont le fruit d’une véritable inculturation et constituent les piliers de la construction identitaire des Indiens Moxos. Les maîtres de chapelle, même éloignés des anciennes missions et de la société bolivienne, ont perpétué cet art à travers la religiosité populaire. Ils furent les instigateurs d’un mouvement messianique et millénariste qui cherchait à trouver une terre promise, la « Loma Santa », quelque part dans l’Amazonie bolivienne, à laquelle on ne pouvait avoir accès que par la préservation stricte de la musique héritée des missions jésuites. / Although the liturgical repertoire inherited from the missions founded by the Society of Jesus from the second half of the seventeenth century onwards among the Moxos Indians, in the northeast of the current Plurinational State of Bolivia, is considered a rich heritage of Latin American baroque music, exalting the evangelizing enterprise, the involvement of the natives from Jesuit reductions in this production, as well as the interpretation and mystical and social value they gave to music from the expulsion of the Society of Jesus from the Spanish territories in 1767 to the present day, remained to be discovered and analyzed.Music, for the Moxos Indians, is an intrinsic representation of their faith and society. The commitment of these descendants of mission Indians to a relentless musical practice, as well as the wealth of oral traditions superposed on moxean ritual art, which involves copying music and religious documents, prove to be ritual and political expressions that allow us to envision the creation of a musical historiography of the Moxos based on the natives’ testimony.The thousands of copies made of scores and catechism books by Indian scribes are preserved and used as relics which prove the natives’ sense of belonging to a culture of missions, and the influence of the Jesuit pedagogy of the Ratio studiorum. They are the fruit of a genuine inculturation and the pillars of the Moxos Indians’ sense of identity.Choirmasters perpetuated that art through popular religiosity, even away from the old missions and Bolivian society. They were the instigators of a messianic and millenaristic movement that sought to find a promised land, the "Loma Santa", somewhere in the Bolivian Amazon, which could be accessed by strict preservation of the music inherited from the Jesuit missions. Keywords: Moxos, Jesuit missions, music, choirmaster, copyists, Loma Santa, Jesuits.

Charles Jennens (1700-1773), the librettist of 'Saul', 'Messiah', 'Belshazzar', the final part of 'L'Allegro, il Penseroso ed il Moderato', and probably 'Israel in Egypt', amassed a huge library of music that forms the bulk of what is now known as the Aylesford collection. Jennens's collection of Handel's music was unique among those of his contemporaries, not only because it includes part-books, but also because it is unusually comprehensive. The dissertation focuses on his copies of the sacred oratorios beginning with 'Saul' (1739) because most of the collection was copied in the 1740s, the sacred oratorios were the works that Jennens was most interested in, and 'Saul' was his first collaboration with Handel. As many of these manuscripts have not been the focus of modern scholarly attention, I first establish how, when, and by whom each manuscript was copied, in order to achieve a greater understanding of how and when Jennens assembled his collection, and what his reasons were for doing so. This close study of the manuscripts reveals that Jennens made extensive alterations to the verbal text, the structure, and the music of several oratorios in his collection. His amendments to 'Saul' and 'Belshazzar' shed light on his collaboration with Handel; and his amendments to 'Samson' and 'Joseph and his Brethren' provide insights into his attitude to Handel in the mid-1740s, his approach to word-setting, his views on the adaptation of Scripture for oratorio, and his beliefs and commitments. Jennens was a highly educated man whose activities were informed by two deeply held, conflicting allegiances: to the Anglican Church and to the deposed Stuarts. An examination of how he harnessed Handel's music to deliver his religious and political messages leads to a richer and more profound understanding of the works, of the relationship between Jennens, Handel, and Handel's music, and of their place in the religious and political context of the mid-eighteenth century.

El presente artículo procura demostrar que una lectura atenta de la única copia del manuscrito de los Ritos y fábulas de los incas de Cristóbal de Molina pone en evidencia el castellano semiletrado que manejaba el copista de Molina—nos encontramos pues ante una copia adulterada del manuscrito original. Para ello, se discutirán cuatro puntos que sirven de soporte a la hipótesis planteada: los constantes vacíos en el curso del copiado, los tropiezos en la lectoescritura del castellano, las dificultades en la lectoescritura del quechua y las pruebas del “castellano motoso” del copista. / This paper seeks to show that a close reading of the only copy of the manuscript Account of the Fables and Rites of the Incas (Ritos y fábulas de los incas) by Cristóbal de Molina makes it evident that Molina’s copyst used a semiliterate Spanish—we are thus dealing with an adulterated copy of the original manuscript. In order to support this hypothesis, four issues are discussed: the constant gaps in the process of copying, the blunders in Spanish literacy, the difficulties in Quechua literacy and the evidence showing the interlect (“castellano motoso”) of the copyist.

La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut du roi Louis XV, les fêtes et réjouissances publiques et les concerts spirituels. Le corpus des motets conservés à Lyon est l’objet d’une analyse rigoureuse : la deuxième partie s’attache au catalogue de l’académie, au support musical (papiers à musique, filigranes et graphies musicales), ainsi qu’aux éléments musicaux dont témoignent les sources. La troisième partie présente le répertoire lyonnais du genre. Lalande représente la moitié du corpus conservé et la majorité des compositeurs sont des maîtres de musique de la Cour ou de la capitale, mais l’on trouve également des compositeurs d’autres provinces (Pétouille, Valette de Montigny, …) et des Lyonnais (Estienne, Bergiron du Fort-Michon, Belouard, …). La réception des œuvres à Lyon est mise en évidence par des comparaisons de sources, tandis que quelques particularités locales apparaissent, telles que la composition en « fragments ». Cette étude permet d’affirmer que, si la musique à Lyon est inscrite dans son époque, elle développe néanmoins des caractéristiques qui lui sont propres. / This thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics.