Thesis--Freiburg im Breisgau.

Thesis (doctoral)--Rheinischen Friedrich-Wilhelms-Universität zu Bonn, 1980. / "Thematisches Verzeichnis der Motetten Foggias"--P. 39-257. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 285-297).

Th. Etat--Musicologie--Paris 4-Sorbonne, 1989.

This study is concerned with the motets in an important manuscript of polyphonic music of the first third of the fifteenth century. Although the book appears to have been written in northern Italy around 1430-1433, some of the motet repertory dates back to the last years of the fourteenth century, and, in one instance, perhaps to the middle of that century.

Thesis (D.M.A.)--Boston University / Francesco Cavalli was the most renowned composer of opera in seventeenth-century Venice. Though Cavalli's operas have enjoyed a surge in popularity and interest in recent years, his sacred works remain largely unknown. Cavalli published only a small portion of his compositional output, and his Musiche Sacre Concernenti of 1656 contains the largest source of his acred music in concertato style, representing a fusion of his sacred and secular compositional worlds. The purpose of this study is threefold. The first is to provide a modern performing edition of each motet governed by the same editorial principles that will serve scholars and performers by providing a performing edition based on the Gesamtausgabe tradition of complete works of a single composer. The second is to explore the musical, liturgical, and historical context and significance of his motets as pertains to executing an informed performance. The third is to promote the music of Francesco Cavalli in general. The motets of the collection include eleven psalms, five hymns, the Magnificat, and the four Marion antiphons, employable in various Vesper services of the liturgical year. Part I of this study will serve as the Critical Commentary to the edition. Chapter 1 examines Cavalli's life and work. Chapter 2 contains analyses of the motets. Chapter 3 discusses the liturgical contexts of the motets as well as the historical background of the collection in relation to Seicento Venice. Chapter 4 explores issues of performance practice such as ensemble size, voicing, the appropriate choice of instruments, pitch center, continuo practice, tempo, metric relationships, coronas, dynamics, and missing verses. Part II will present the performing edition of each motet in full score with a critical report. Sources and editorial methods will be discussed, and detailed critical notes will be provided. Appendices including the motets' texts, translations, and instrumental parts are provided.

Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included in the first edition is translated, the formal and tonal structures are analyzed, and English versions of the texts are given. The many ornaments emplayed in the vocal line are categorized, and their execution is explained.

Diss.--Philosophie--Chicago, Ill.--Univ., 1992. / 3 tomes réunis en 1 seul volume. Extraits de textes en latin avec la trad. anglaise en regard ainsi que des textes en espagnol. Les transcriptions en fin de volume sont celles de motets conservés à la Biblioteca Colombina de la Cathédrale de Séville (Sev-Bc 1) et à l'Archivo Capitular de Tarazona (Taraz-C 2-3). Bibliogr. p. 343-354.

No description available.

No description available.

Diss.--Philosophie--Freiburg--Phil.-Fak., 1990. / Contient 3 vol. de musique. Bibliogr. p. XXIV-XXX.