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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Plainsong in English an historical and analytical survey ...

Marshall, Perry Denison, January 1964 (has links)
Thesis (S.M.D.)--Union Theological Seminary in the City of New York, 1964. / Includes bibliographical references.
2

Plainsong in English an historical and analytical survey ...

Marshall, Perry Denison, January 1964 (has links)
Thesis (S.M.D.)--Union Theological Seminary in the City of New York, 1964. / Includes bibliographical references.
3

Theodore Nisard's "Accompagnement du plain-chant" from "Dictionnaire Liturgique, Historique et Theorique de Plain-Chant et de Musique d'eglise qu moyen age dans les temps modernes" (1854) an English translation /

Nisard, Théodore, Holbrook, Gerald Wayne. January 1900 (has links)
Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed Aug. 22, 2007). PDF text: vi, 106 p. : music, facsim. UMI publication number: AAT 3237873. Includes bibliographical references. Also available in microfilm and microfiche formats.
4

Prosody and rhythm in the post-Tridentine reform of plainchant

Veltman, Joshua Joel, January 1900 (has links)
Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xii, 187 p.; also includes graphics Includes bibliographical references (p. 180-187).
5

Mass cycles in early graduals a study of the Ordinary of the mass cycles found in Medieval and Renaissance graduals in libraries in the United States /

Burne, Martin Joseph. January 1956 (has links)
Thesis (Ph. D.)--New York University, 1956. / Typescript. Includes bibliographical references (leaves [218]-225).
6

Die Geschichte der Begleitung des gregorianischen Chorals in Deutschland, vornehmlich im 18. Jahrhundert

Söhner, Leo, January 1931 (has links)
Thesis (Inaugural-Dissertation)--Freiburg in der Schweiz, 1931. / Includes bibliographical references (p. x-xvi).
7

Studies on the office antiphons of the Old Roman manuscripts

Nowacki, Edward Charles. January 1981 (has links)
Thesis (Ph. D.)--Brandeis University, 1980. / Contains a complete inventory and transcription of the office antiphons in Ms. San Petronio B 79 of the Biblioteca Apostolica Vaticana, Rome.
8

Plainchant and liturgy in the diocese of Münster in Westphalia : the fifteenth-century Freckenhorst antiphoner (D-MÜd PfA 53)

Brink, Danette January 2008 (has links)
Includes abstract.|Includes bibliographical references (p. 213-222). / The manuscript Münster (in WestphalialWestfalia), Bistumsarchiv, Freckenhorst, StBonifatius Hs. 53 (D-MÜd PfA 53) is an antiphoner (antiphonary/antiphonal) that theFraterherren of Münster wrote in the middle of the fifteenth century. The plainchantmelodies are in German neumatic notation (Hufnagelschrift) and the texts are in Gothictextualis textura, textualis rotunda, textualis quadrata and textualis semi-quadrata. The studyproceeds from the work of Hans Ossing, Untersuchungen zum Antiphonale Monasteriense(Alopecius-Druck 1537): Ein Vergleich mit den Handschriften des Munsterlandes (Regensburg, 1966). The work consists of: • a description of the codicological and palaeo graphical characteristics together with an overview of the manuscript's content; • a comparative study of: • the Advent responsory texts with reference to Renato-Joanne Hesbert's Corpus Antiphonalium Officii: Fontes earumque prima ordinatio [CAD, vol. 5] (Rome, 1975) and the interactive database on David Hiley's Cantus Planus website at the Institut fur Musikwissenschaft der Universitat Regensburg (http://www.uni-regensburg.de/F akultaetenlphi1_F ak 11Musikwissenschaftl cantusl); • the plainchant melodies of the Christmas Matins responsories (Vigilia Nativitatis Domini and Nativitas Domini) with reference to the Antiphonale Monasteriense, DMÜsa Msc. 433, D-MÜp K' 146, D-MÜd PfA Hs. 113, D-MÜd PfA Hs. 114, D-MÜd PfA Hs. 132, D-MÜd PfA Hs. 91 and D-MÜd PfA Hs. 66; • a diplomatic edition of the plainchant melodies for the historiae (versified officeslrhymed offices) of Sts Gertrude (Gertrudis) of Nivelles, Boniface (Bonifatius/Bonifacius), and Achacius (Achatius) and the ten thousand (10 000) martyrs, which includes D-MÜd PfA Hs 202, B-TO 63, B-TO 64, D-MÜd PfA Hs 199 and D-MÜd PfA Hs 132; • a comparative study of the content of PfA 53 and the Antiphonale Monasteriense derived from electronic indices created according to the guidelines of Cantus: A database for Latin ecclesiastical chant (http://publish.uwo.ca/-cantusl) maintained by Debra Lacoste.
9

The offertories of Old-Roman chant: a musico-liturgical investigation

Dyer, Joseph Henry, Jr. January 1971 (has links)
In the early Christian celebrations of the Eucharist the presentation of bread and wine by the deacons was a simple, practical matter surrounded with little or no ceremonial. Liturgical and musical elaboration of this part of the liturgy seems to have taken place first in Africa early in the fifth century concomitant with the development of the laity's role in the offering. The first extensive description of the Western offertory appears in Ordo Romnnus l: the laity did not form a procession and only the existence of an offertory chant is mentioned. Since the compiler of the Ordo does not regard the offertory as similar to the introit and communion (and, therefore, antiphonal) it must have been performed responsorially. A responsorial performance is appropriate for the offertory as it appears in the earliest musical record of the Roman liturgy, the Gregorian Gradual of Mt. Blandin. Thus, the late medieval term, antiphona ad offertorium, does not reflect the authentic form of the offertory. The elaborate verses of the Old-Roman and Gregorian traditions probably existed in the early ninth century. Their gradual disappearance has been attributed to a decline in the people's participation at Mass. In general, the texts of the offertories are drawn from the Psalterium Romanum but in a significant number of cases Old-Roman end Gregorian chant texts agree on a particular reading against the Psalterium Romanum. Two quasi-psalmodic formulae are found in the refrains and verses of many Old-Roman offertories. One of them, Formula B, occurs in virtually all F-mode offertories, frequently repeated many times within a single piece. In Formula A the reciting element (a repeated torculus) is more prominent. Thia formula is also shorter than Formula B (4 elements versus 7). Formula A occurs more frequently in the verses than it does in the refrains. Repetition of melodic material plays an important role in the formal design of the Old-Roman offertories. Forty offertories of a total of ninety four studied have at least one repetition of an entire phrase; in most cases the repetitions are extensive enough to have a unifying force. Small segments of the phrase which is repeated are broken off and subjected to multiple repetitions so that the complete phrase is heard only two or three times. The procedures of adaptation are extremely flexible though the identity of the model phrase is recognizable through all the variants. Repetition of short phrases or motives (generally a a or a a') occurs in both neumatic and melismatic portions of the chant. The Old-Roman melos is pervaded by this mosaic-like working with small motives. An extension of the principle of melodic repetition exists in the many cases (50) of "rhyme" between the ends of verses or between refrain and verse. In about one-third of the Old-Roman offertories at least one verse closes with the same cadence which preceded the detachable conclusion of the refrain (that part of the refrain which is repeated after each verse). In the tritus and tetrardus modes cadences which close a refrain never appear at the end of a verse or as internal cadences. This functional division is not adhered to strictly in the other-two modes. Text repetition, a phenomenon unique to the offertories, demonstrates the common textual basis of Old-Roman and Gregorian chants. All but four of the twenty-three Old-Roman examples observed have parallels in the Gregorian tradition.
10

Sacramentary-antiphoners as sources of Gregorian chant in the eighth and ninth centuries

DiCenso, Daniel Joseph January 2011 (has links)
No description available.

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