• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 16
  • 2
  • 2
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • Tagged with
  • 23
  • 23
  • 6
  • 2
  • 2
  • 2
  • 2
  • 2
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • 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.
11

Une approche synoptique des motifs et des modules dans la messe parodique /

Lessoil-Daelman, Marcelle January 2002 (has links)
This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models. / The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
12

Mass in D Major : variation within structure /

Wheeler, Patricia Clare. Wheeler, Patricia Clare. January 2007 (has links)
Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 69-70). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29311
13

Tonal characteristics in the Kyrie and Sanctus sections of twelve L'homme armé Masses a computer-assisted study /

Peterson, Don Laurel, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin-Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.
14

Une approche synoptique des motifs et des modules dans la messe parodique /

Lessoil-Daelman, Marcelle January 2002 (has links)
No description available.
15

Historical memory and Gyorgy Ligeti's sound-mass music 1958-1968

Iverson, Jennifer Joy 05 February 2010 (has links)
This dissertation investigates the relationship between György Ligeti’s soundmass works and the musical past. After his emigration in 1956, Ligeti (1923-2006) gained renown for his sound-mass style, exemplified in works such as Apparitions (1958- 59), Atmosphères (1961), Requiem (1963-65) and Lontano (1967). These works minimize the perceptual salience of melody, rhythm and harmony, instead foregrounding orchestral clusters and thus suggesting that timbre is the central compositional issue. Despite his immersion in the creative atmosphere of the Darmstadt circle, Ligeti’s soundmass works diverged from the serial, pointillist style that preoccupied the European avant-garde at the time. However, I argue that Ligeti’s distance from the Darmstadt avant-garde is only apparent. In fact, this milieu served as his primary socio-cultural reference point after his emigration. The concept of “historical memory,” following from the work of French sociologist Maurice Halbwachs (1877-1945), suggests that Ligeti’s understanding of the musical past was deeply shaped by the collective interpretations in circulation amongst the Darmstadt avant-garde circle. Analysis of Ligeti’s sketches, writings and scores shows that he recollected historical influences that were important in the discourses of his milieu and redeployed them in his sound-mass works. For example, Ligeti’s Apparitions shows traces of the analyses of Debussy’s Jeux that were produced by Herbert Eimert and Karlheinz Stockhausen. Atmosphères, though it is an acoustic work, reflects the collective representation of electronic music that had developed at the Westdeutscher Rundfunk studio in Cologne. The Darmstadt composers’ sustained interest in the concept of Klangfarbenmelodie, as practiced by both Schoenberg and Webern, informs Ligeti’s use of timbre in Lontano and the Cello Concerto. Finally, Ligeti capitalizes upon the popularity of Webern around Darmstadt, using Webern’s music as an opportunity to recast Bartók’s achievements to his new Western European colleagues in the Requiem. Ligeti’s renegotiation of the musical past, within the discourses of his Darmstadt avantgarde milieu, was crucial for his composition of the sound-mass works. / text
16

The Latin Lutheran mass at Wittenberg, 1523-1545 a survey of the early Reformation mass and the Lutheran theology of music, as evidenced in the liturgical writings of Martin Luther, the relevant Kirchenordnungen, and the Georg Rhau Musikdrucke for the Hauptgottesdienst /

Gould, Ronald, January 1970 (has links)
Thesis (Ph. D.)--Union Theological Seminary, 1970. / Vita. Includes bibliographical references (v. 1, leaves 141-158).
17

The chanted mass in Parisian ecclesiastical and civic communities, 1480--1540 : local liturgical practices in manuscripts and early printed service books /

Long, Sarah Ann, January 2008 (has links)
Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4180. Adviser: Herbert Kellman. Includes bibliographical references (leaves 291-320) Available on microfilm from Pro Quest Information and Learning.
18

Mensur, Cantus firmus, Satz in den Caput-Messen von Dufay, Ockeghem und Obrecht

Nowotny, Rudolf, January 1970 (has links)
Thesis--Munich. / Includes indexes. Bibliographies: p. 186-192.
19

Mass/360

Bales, William K. 12 1900 (has links)
Mass/360 is computer music in the sense that the audio tape was realized with a computer language for digital synthesis. This tape is combined with traditional choral and instrumental forces, and demonstrates only one technique available for the use of computers in composition. The work displays a number of elements which afford both unity and contrast. The arch span of the whole is supported by timbral, melodic, rhythmic, and textural parameters. Recurring events include tone clusters, chant-like melodies, angular melodies, and counterpoint. Special vocal effects are found in all movements, and the large scale tonicizing effect of the movement from f to b-flat gives the composition a sense of direction over a long temporal span. The single pitch (doubled unison/octave) arises as the major event in the work, and other events are generated from this element. The use of different formal designs within each movement corresponds to the natural textual divisions found in the liturgy, and affords a contrast from one movement to the next. The relationship of the Gloria/Qui Tollis to the Sanctus/Benedictus, which is not a mirror relation, contrasts with the chiastic design of the whole. Traditional contrapuntal devices juxtaposed against contemporary vocal techniques and the use of diversified timbres from movement to movement add variety to the composition. Controlling parameters in the Mass are timbral, harmonic, textural, and formal. Rhythmic and melodic parameters are of surface importance, and not considered in the higher structural levels of the composition. This particular handling of musical parameters as elements of unification and diversification is the foremost structural force at work in Mass/360.
20

A missa em si menor de Johann Sebastian Bach = a poética e o trágico = Johann Sebastian Bach's B minor mass : poetic and the tragic / Johann Sebastian Bach's B minor mass : poetic and the tragic

Justi, Katia Regina Kato 21 February 2013 (has links)
Orientador: Paulo Mugayar Kühl / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T02:53:23Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_D.pdf: 3770115 bytes, checksum: 6eb29bd8ac1ceaed915ae65400aadb14 (MD5) Previous issue date: 2013 / Resumo: A proposta deste trabalho é fazer uma investigação da Missa em Si menor, BWV 232, de Johann Sebastian Bach, seguindo parâmetros que enfoquem alguns procedimentos poéticos e retóricos nela utilizados. Investigando a luz das poéticas clássicas, sobretudo da Poética de Aristóteles, e apoiando-se nas teorias musicais alemãs propostas pelos autores da Musica Poetica, pretende-se verificar a presença de alguns aspectos do pensamento aristotélico na criação artística de Bach. Através dos estudos que envolvem a visão filosófica, retórica e musical no processo de criação musical alemã do séc. XVIII este trabalho examina uma possível aproximação entre a tragédia grega, principal gênero poético, e a missa católica, cujo grande exemplo trágico-religioso-musical pode ser encontrado na Missa em Si menor / Abstract: This dissertation analyses J. S. Bach's Mass in B minor, BWV 232, according to some poetical and rhetorical parameters. Through classical poetics, especially Aristotle's Poetics, and supported by German theorists of Musica Poetica, the purpose of this research is to verify the presence of some aspects of Aristotelian thought in Bach's artistic creation. Studies that involve philosophy, rhetoric and music in the German process of musical creation during the eighteenth century, this study investigates a possible approach between Greek tragedy, the main poetic genre, and Catholic Mass: the great tragic, religious and musical example can be found in the Mass in B Minor / Doutorado / Fundamentos Teoricos / Doutora em Música

Page generated in 0.0349 seconds