Thesis (Ph. D.)--University of Wisconsin, 1922. / eContent provider-neutral record in process. Description based on print version record. Bibliography: p. [vii]-viii.

Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: Lawrence Nees, Dept. of Art History. Includes bibliographical references.

The author's Habilitationsschrift, Universität München.

The editor's Thesis (Mag. Phil.)--Kaiserl. Alexander-Universität zu Helsingfors, 1912. / Includes bibliographical references (p. [293]-303).

The editor's Thesis (Mag. Phil.)--Kaiserl. Alexander-Universität zu Helsingfors, 1912. / Includes bibliographical references (p. [293]-303).

Thesis--Leipzig. / Vita.

No description available.

In the 1930s, Oregon State University received an impressive oversized manuscript, now known as "The Gradual," as part of a large donation of books. Not much was known about this manuscript. It does not have documentation attached from the time of its acquisition, nor had any methodical study been undertaken regarding the manuscript. This thesis examines the OSU Gradual, aiming to provide research tools for the identification of musical manuscripts of unknown or unclear provenance that could be useful to conservators, archivists, and librarians, irrespective of musical training. It is conceived as a "rough guide" for working situations where there is no dedicated manuscript specialist, in particular, a fulltime Latin paleographer or a chant scholar overseeing a massive collection. Instead, its "how-to" nature addresses curators and catalogers managing smaller manuscript collections as generalists, offering an interdisciplinary approach both beneficial and suitable to the aims of this study.

"Eyes Without Light" is conceived and scored for symphonic orchestra. The title of this work reflects personal concerns regarding global environmental issues. The phrase "eyes without light", derived from the Gaelic term "sul gan solas", refers in this instance to the blind greed of multi-national industrial and political corporations which are responsible for the destruction of the earth's ecosystem (primarily the forests and oceans). This work, influenced by the 19th-century symphonic poem initiated by Beethoven, Berlioz and Liszt, is programmatic in nature. The busy, confrontational destructiveness of mankind is represented by repeated or moving sixteenth notes at the beginning and end of the piece. These sections utilize varying densities of semitone clusters and are predominantly dissonant. The calmness and balance of the planet earth is represented by the middle section of the work, which consists primarily of slow-moving sustained lines. These sustained lines move to a sonority which is the structural focal point of the work (m 129-131). This sonority is resolved in the final measures. Both the focal point sonority and its resolution are constructed of P5 and P4 intervals. The aggressive destructiveness of mankind is emphasized by the repeated dissonant chords in the concluding measures (m 140-147, m 151-157) of the section. / Arts, Faculty of / Music, School of / Graduate

Often the Italian Madrigal is associated with print and the public marketplace. Yet it originated in handwritten anthologies restrictively circulated by Florentine patricians. In recent years, print scholarship broadened Renaissance musical studies from composer and institutional analyses to those focusing on material form, usage, and meaning. Manuscript studies of the Italian Madrigal, however, are yet to receive similar methodological expansions. This dissertation explores the social world of four manuscript anthologies of madrigals crafted in 1530s Florence. I argue that they participated in a culture whose practices aligned with and projected the elite identities of their owners, remaining in use despite the advent of printed collections intended for the broad consumption and general tastes that dominated the genre’s dissemination from the 1540s onward. Through the four manuscript anthologies, I present a needed cultural history of manuscript usage and meaning in an understudied era of the genre, examining processes of self-fashioning, communal and diplomatic circulation, notational difference, and political identity. I uncover this information through paleographic, primary-source analysis of musical and epistolary documents as well as historical survey. This dissertation reveals, firstly, patrician use of manuscripts as markers of hierarchical distinction in Florentine society. Second, it concludes that manuscript madrigals should be understood alongside other Florentine manuscript practices of epistolary exchange and personal record keeping, as documents intended to accumulate new works and preserve family history and legacy. Third, this dissertation provides a comparative analysis of the music-notational and paleographic differences between contemporaneous print and manuscript versions of Florentine madrigals in the 1530s. This dissertation then concludes with an analysis of the political decorations within one of the manuscript partbook sets that offers insight into Florence’s governmental transition from a longstanding republic to Medici rule in 1530. Altogether, my project reveals particular ways in which the manuscript madrigal projected the individual and communal identity of patrician Florentines to garner distinction among other social classes, to solidify diplomatic bonds and preserve family history, to encode performance through subtle notation, and to engage with cataclysmic governmental shifts as reflected through the political views of individuals and the scribal hand.