Thesis (M.M.)--Wisconsin. / Includes bibliographical references (leaves 84-86).

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Four composers have been chosen for this study. They were the leaders of four successive generations of composers influential in the fifteenth and early sixteenth centuries. Their masses were written between the years 1420 A.D. and 1560 A.D. Many significant changes took place during this period of one hundred forty years. Older compositional techniques such as the use of formes fixes and isorhythm all but disappeared. Cantus firmus technique was transformed and extended to unify the mass cycle. Aesthetic considerations became more important to the composer than liturgical canons, and composers began to regard themselves as artistic creators not mere servants to the Church. The rise of humanism placed man at the center of his music, making it more expressive and personal then ever before.

Thesis (M.M.)--Butler University, 1985. / Includes bibliographical references (p. 474-476).

Thesis--Munich. / Includes indexes. Bibliographies: p. 186-192.

No description available.

Nous retraçons la vie et le parcours professionnel de Jean Dufay, et ce fil directeur permet d'étudier en même temps le développement des observations et des recherches astrophysiques dans les Observatoires de Lyon et de Haute-Provence. Jean Dufay nait à Blois en 1896. Après son engagement militaire pendant la première guerre mondiale, il entre à l'ENS et obtient l'agrégation de physique en 1921. Il enseigne pendant sept ans dans des lycées, tout en préparant une thèse de doctorat, qu'il soutient en 1928 : Recherches sur la lumière du ciel nocturne.Il choisit alors une nouvelle carrière et entre en 1929 à l'Observatoire de Lyon, comme aide-astronome. Il devient directeur de l'établissement en 1933 et oriente son équipe vers des recherches d'astrophysique stellaire. D'autre part, Jean Dufay fait partie dès 1932 de la commission ministérielle qui étudie la création d'un observatoire d'astrophysique. Il est nommé en 1937 directeur de ce futur établissement, qui deviendra l'Observatoire de Haute-Provence (OHP). Tout en gardant la direction de l'Observatoire de Lyon, il coordonne la construction et l'équipement de l'OHP, qui devient en 1959 l'un des plus modernes d'Europe avec un télescope de 193 cm associé à un grand spectrographe.Jean Dufay dirige les deux observatoires jusqu'à sa retraite en 1966, tout en enseignant à la Faculté des Sciences et en continuant ses recherches astrophysiques. Il publie de nombreux articles et plusieurs livres. Il préside une commission de l'UAI. Il acquiert une notoriété certaine dans la communauté scientifique internationale de son époque.Jean Dufay est l'un des acteurs du renouveau de l'astronomie en France, dans le deuxième tiers du XXe siècle. À son arrivée à Lyon, l'observatoire travaille surtout pour l'astronomie de position, avec des méthodes qui n'ont pas changé depuis 1880. En moins de dix ans, ce type de recherche est abandonné, et remplacé par la photométrie de précision et la spectrophotométrie. Après la seconde guerre mondiale, les pratiques de l'astrophysique sont définitivement intégrées à l'Observatoire de Lyon, qui travaille alors en synergie avec l'OHP / We trace the life and career of Jean Dufay, and at the same time, this allows us to study the development of observations and astrophysical research in the Lyon and Haute-Provence Observatories.Jean Dufay was born in Blois in 1896. After his military involvement in the First World War, he joined the ENS and passed the agrégation in physics in 1921. He taught for seven years in high schools, while preparing a PhD thesis, presented in 1928 : Research on Light in the Night Sky.He then chose a new career and entered the Lyon Observatory in 1929, as an assistant astronomer. He became director of the institution in 1933 and directed his team’s work towards research in stellar astrophysics. Besides, in 1932, Jean Dufay joined the ministerial commission studying the creation of an astrophysics observatory. In 1937 he was appointed director of this future institution, which would later become the Haute-Provence Observatory (OHP). While keeping his post of manager of the Lyon Observatory, he coordinated the construction and equipment of the OHP, which in 1959 became one of the most modern ones in Europe, with a 193 cm telescope associated with a large spectrograph.Jean Dufay was at the helm of the two observatories until his retirement in 1966, while teaching at the Faculty of Sciences and keeping up his astrophysical research. He published numerous articles and several books. He chaired a commission of the IAU, and gained genuine recognition in the international scientific community of his time.Jean Dufay was one of the actors of the renewal of astronomy in France, in the second third of the twentieth century. When he arrived in Lyon, the observatory mainly worked for positional astronomy, with methods that had been unchanged since 1880. In less than ten years, this kind of research fell into disuse and was replaced by precision photometry and spectrophotometry. After the Second World War, astrophysical practices were integrated for good into Lyon Observatory, which then works in synergy with OHP

No description available.

No description available.

This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.