Thesis (M.A.)--Catholic Theological Union, 1977. / Includes bibliographical references (leaves 119-121).

Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

Thesis (S.T.M.)--Concordia Seminary, 1985. / Includes bibliographical references (leaves 156-161).

No description available.

No description available.

Thesis (Ph. D.)--Harvard University, 1929. / Bibliography: p. [314]-324.

Thesis--University of Minnesota. / "Bibliography," p. 174-182.

Dans le milieu du clavecin et de l’orgue du Grand Siècle, la personnalité de Jean-BaptisteLully n’est pas celle qui lui est immédiatement associée. Les chroniques, gazettes, récits, lettres envers de Loret ou la correspondance de Madame de Sévigné témoignent de l’engouement de toute unesociété pour le théâtre lyrique de Lully. À notre connaissance, Lully n’a jamais rien écrit pour leclavier : le répertoire français de pièces de clavecin du XVIIe siècle attribue 217 de ses oeuvresarrangées pour le clavier. Ce fait le place en première position devant ses contemporains clavecinistesque sont Jacques Champion de Chambonnières, Louis Couperin, Nicolas Lebègue ou Jean-Henryd’Anglebert. Conservé dans quarante sources, ce répertoire original d’oeuvres théâtrales est composéd’ouvertures, chaconnes, passacailles et de danses en vogue avec une prédilection pour le menuet. SeulJean-Henry d’Anglebert dans ses Pièces de Clavecin, publiées en 1689, en donne un échantillonnagepersonnel exemplaire. Copié par des auteurs anonymes et demeuré manuscrit pour l’essentiel, cerépertoire est diffusé dans des sources internationales, françaises, anglaises, allemandes, autrichiennes,belges (Pays-Bas du sud), danoises, italiennes et espagnoles. Destiné à un public amateur, princessesde sang, jeunes filles de la grande aristocratie et de la bourgeoise, de nombreux arrangements sontégalement pensés pour des musiciens de haut niveau, voire des professionnels. Au même titre que lesversions pour piano à quatre mains des symphonies de Beethoven ou de Brahms au XIXe siècle, cesadaptations pour le clavier d’oeuvres théâtrales de Lully existent pour fournir au grand public unmoyen de s’approprier la musique qu’il aime. Bruce Gustafson, David Fuller et David Chung ontconsacré leurs recherches au clavecin au regard des sources qu’ils ont étudiées. Une autre approchecomplétée par la découverte de nouvelles sources fait prendre conscience que la frontière entre lerépertoire de l’orgue et celui du clavecin est parfois ténue : nos travaux interrogent ces deux aspects dela pratique des musiciens de la seconde moitié du XVIIe siècle à la lumière de l’oeuvre théâtrale deLully. / One does not immediately associate the eminent figure of Jean-Baptiste Lully with the domainof 17th century harpsichord and organ. Chronicles, gazettes, accounts, Loret’s versified letters or Mmede Sévigné’s correspondence attest to an entire society’s infatuation with Lully’s operatic works. Toour best knowledge, Lully never wrote any specific keyboard piece : yet the 17th century frenchharpsichord repertoire lists 217 of his works arranged for the keyboard. This fact gives him topranking ahead of his harpsichordist contemporaries, such as Jacques Champion de Chambonnières,Louis Couperin, Nicolas Lebègue or Jean-Henry d’Anglebert. This original repertoire of theatricalworks is to be found in 40 sources and comprises overtures, chaconnes, passacaglias and dances whichwere then fashionable, with particular emphasis on the minuet. Only Jean-Henry d’Anglebert gives arepresentative personal selection in his Pièces de Clavecin, published in 1689. This repertoire wascopied by anonymous authors and mostly remained handwritten. It was internationally distributed inFrench, English, German, Austrian, Belgian (Southern Netherlands), Danish, Italian and Spanishliterature. Although it was aimed at a public of music-lovers, such as royal blood princesses, youngladies from high-ranking aristocracy and bourgeoisie, many arrangements were also meant forexperimented musicians and even professionals. Like the piano four-hand versions of symphonies byBeethoven and Brahms in the 19th century, these keyboard adaptations of Lully’s theatrical works weredesigned to provide a large public with access to the music they love. Bruce Gustafson, David Fullerand David Chung have dedicated their research to the harpsichord on the basis of the literature whichthey have studied. An alternative approach, supplemented by the discovery of new sources, helps realizethat sometimes there is only a fine line between the repertoire for organ and that for harpsichord : ourresearch examines these two aspects of musicians’ practices in the second half of the 17th century, in thelight of Lully’s theatrical works.

Entrevista realizada por José Aburto.

This thesis, which focusses on the relationship between Lord Holland and Portugal, investigates aspects of political, diplomatic and cultural history. It covers the period between 1793 and 1840 and traces the evolution of Holland's views on Portugal from the time of his first visit to Spain to his later contribution to the establishment of a constitutional regime in Portugal. Particular attention is given to the Hollands' visits to Portugal in 1804-5 and 1808-9. Their journals and correspondence reveal their impressions of the people, culture and history of Portugal. On their travels, they met a number of prominent Portuguese, notably Palmela, who were to remain in contact with Holland House - especially during periods of exile - for many years into the future. The Portuguese journeys and the continuing contact with people like Palmela were to play an important part in the development of Lord Holland's views, not only on Portugal but also on broader political and constitutional issues. Thus the thesis investigates Lord Holland's influence on ' the establishment of a constitutional regime in Spain in 1809-10 and - indirectly and unintentionally - in Portugal in 1820-23, It includes a study of Holland's contribution to the settlement of a government in Brazil in 1808 - that is at the time the Bragancas moved from Portugal to Rio de Janeiro - and his indirect influence on the establishment of the United Kingdom of Portugal, Brazil and the Algarves in 1815, as well as his role in the abolition of the Atlantic Slave Trade and the effects of abolition on Anglo-Portuguese relations. Lord Holland's contribution to the establishment of a Liberal regime in Portugal in 1834 is examined at some length. It includes a study of the extent of Holland's support for the Portuguese Liberal Cause after Dom Miguel's usurpation of the throne in 1828 and of his subsequent role in the 'Liberal invasion' of Portugal. To this end it investigates relations between Portuguese emigres and the Holland House Circle, Holland's role in the triangular diplomacy between Lisbon, St James and South Audley Street in 1828 and later. Finally, it considers Holland's contribution to the end of the Portuguese Civil War in 1834 and to the subsequent establishment of a constitutional regime in that country.