The thesis deals with the birth of the Baroque cantata in Northern and Central Germany. It introduces musical forms that led to the creation of cantata and thus significantly influenced its form, which crystalized during the Late Baroque period. The picture of Early Baroque German music is completed with profiles of three principal composers, on a selection of whose works the gradual development of this new musical form - the German Baroque cantata - is demonstrated. The second part is devoted to an analysis of a work representative of this style, Dietrich Buxtehude's Membra Jesu nostri, which is a supreme example of this musical form.

Bibliography: leaves 206-220.

Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.

The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Qui était "Jacotin"? Quels sont encore les mystères de sa biographie? Quelle a été sa contribution au panorama musical de la Renaissance? Et pourquoi le connaît-on si mal, lui dont l’oeuvre – dans son ensemble stylisée et élégante – semble avoir connu de son temps un succès considérable? À l’heure actuelle, l’oeuvre attribuée à "Jacotin" est pratiquement tombée dans l’oubli et l’identité du ou des compositeurs à qui nous la devons fait toujours l’objet de spéculations parmi les spécialistes. Ainsi, ces compositions n’ont jamais retenu toute l’attention qu’elles méritent. Les chansons n’ont été éditées en notation moderne qu’en 2004 ; l’oeuvre latine, elle, n’a pas encore fait l’objet d’une édition critique, ni d’une étude. Plus généralement, l’oeuvre attribuée à "Jacotin" n’a pas été étudiée intégralement. Pourtant, celle-ci aurait beaucoup à nous apprendre des différences et interactions stylistiques entre les Pays-Bas, la France et l’Italie aux XVe et XVIe siècles, puisque les candidats au titre de compositeur(s) potentiel(s) furent actifs tant à Paris et Anvers qu’à Naples, Ferrare, Rome et Milan. L’œuvre latine attribuée à "Jacotin" témoigne en outre des différentes activités et services de son ou ses auteurs, certains motets (notamment Beati omnes qui timent Dominum, Interveniat pro rege nostro et Michael archangele) s’inscrivant possiblement dans le cadre de cérémonies qui prirent place à la cour royale d’Angleterre sous le règne d’Henry VIII (1491-1547, reg. 1509-1547), ainsi qu’à celle de France sous ceux de Louis XII (1462-1515, reg. 1498-1515) et François Ier (1494-1547, reg. 1515-1547). Les motets de "Jacotin" constituent donc des maillons essentiels dans l’histoire du genre, tant en France que, plus généralement, en Europe. Cette thèse tente dans un premier temps d’élucider le problème identitaire qui affecte "Jacotin" depuis plus de deux siècles. Ainsi, la première partie est consacrée à la prosopographie des chantres de la Renaissance clairement identifiés sous ce diminutif. De concert avec l’examen des sources musicales et l’étude de leurs schémas de diffusion, l’analyse des oeuvres elles-mêmes permet ensuite leur attribution à quatre musiciens bien distincts, à savoir : Jacques de Nieuport (v. 1435-v. 1475), Jacques Frontin (v. 1450/55-?1519), Jacques Godebrye (v. 1460-1529), et Jacques Lebel (v. 1494-v. 1556). Dans un second temps, cette thèse propose pour la première fois une transcription critique de l’oeuvre latine de "Jacotin", transcription qui vient compléter l’édition critique de ses chansons publiée par Frank Dobbins en 2004. Ainsi, l’oeuvre complète attribuée à "Jacotin" est enfin disponible en notation moderne, pour les chercheurs comme pour les interprètes. / Who was "Jacotin"? What mysteries of his biography remain? What was his contribution to the musical panorama of the sixteenth century? And why do we know so little about a figure (or figures) whose work – for the most part stylish and elegant – seem to have encountered considerable success in his time? At present, the oeuvre attributed to "Jacotin" is almost completely forgotten and the identity of the composer(s) to whom we owe it is still the subject of speculations among scholars. Thus, these compositions have never received the attention they deserve. The chansons were not edited in modern notation until 2004 ; the Latin works have not yet been the subject of a critical edition, nor of a study. More generally, the compositions attributed to "Jacotin" have not been exhaustively studied. Yet, they have much to teach us about the stylistic differences and interactions between France, the Netherlands and Italy during the fifteenth and sixteenth centuries, as the potential candidates for the title of composer(s) were employed in Paris, Antwerp, Naples, Ferrara, Rome and Milan. The Latin works ascribed to "Jacotin" also reflect their author(s) numerous activities and services, as some motets (Beati omnes qui timent Dominum, Interveniat pro rege nostro and Michael Archangele, notably) were possibly part of ceremonies that took place at the royal court of England under the reign of Henry VIII (1491-1547, r. 1509-1547), as well as that of France under the reigns of Louis XII (1462-1515, r. 1498-1515) and François I (1494-1547, r. 1515-1547). The motets of "Jacotin" constitute therefore essential links in the history of the genre, both in France and, more generally, in Europe. This study attempts first to solve the identity problem that has been affecting "Jacotin" for over two centuries. Thus, the first part is devoted to the prosopography of Renaissance singers clearly identified under this nickname. In conjunction with the examination of the musical sources and the study of their patterns of diffusion, the analysis of the Latin works then allows their attribution to four different authors, namely: Jacques de Nieuport (c. 1435-c. 1475), Jacques Frontin (c. 1450/55-?1519), Jacques Godebrye (c. 1460-1529), and Jacques Lebel (c. 1494-c. 1556). In a second step, this study proposes for the first time a critical edition of the Latin works attributed to "Jacotin", which complete the critical edition of his chansons published by Frank Dobbins in 2004. As a result, the complete work preserved under this nickname is finally available in modern notation, for both performers and scholars.

Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.

Diploma thesis focuses its attention on life and work composer, poet, music theorist Christoper Demantius and his two collections compositions Tympanum militare (1600, 1615). First part of diploma thesis brings on updated composers biography, evaluation his creation and detection of all contexts with bohemian music culture in age before the Battle of White mountain. In the second part author makes thorough text and music analysis of both collections Tympanum militare. The obtained results includes into wider music-historical context. The part of this thesis is edition of collection from 1600.