Titre de l'écran-titre (visionné le 13 février 2023) / Cette recherche est une thèse auto-ethnographique encadrée dans les canons méthodologiques de la recherche axée sur la pratique, orientée vers l'interprétation historiciste de cantates et motets du XVIIIe siècle, conservés dans des archives hispano-américaines. Notre objectif est de valider l'application de procédures rhétoriques musicales dans le développement d'une interprétation historiquement vraisemblable. Cette étude est basée sur des principes idéo-esthétiques de l'interprétation historiciste, principalement associés au concept de vraisemblance proposé en 1988 par Richard Taruskin (1945) ; ainsi que sur des préceptes en interaction de la rhétorique musicale et les théories des passions, particulièrement ceux théorisés en 1739 par Johann Mattheson (1681 - 1764). On se focalise notamment sur la relation intersémiotique entre le texte littéraire et les figures rhétoriques qui affectent la mélodie, sur la base de la catégorisation proposée en 2000 par Rubén López-Cano (1966). En ce sens, l'analyse de l'elocutio (style rhétorique, élocution, éloquence) est au centre de cette recherche, dans le but de rendre notre interprétation cohérente avec le discours rhétorique implicite dans les compositions. De même, les préceptes rhétoriques conçus par les compositeurs et appliqués délibérément par nous tout au long de la création de notre propre discours s'expriment lors de notre représentation publique ou pronuntiatio. Comme référence de cette phase rhétorique, nous estimons certaines considérations exposées en 2012 par Rafael Palacios Quiroz (1962), les théorisations publiées en 1752 par Johann Joachim Quantz (1697 - 1773), et des informations iconographiques et documentaires (traités) des XVIIe et XVIIIe siècles. Les procédures herméneutiques liées à ce type de recherche sont développées à partir de l'analyse critique et la triangulation des renseignements contenus dans des sources littéraires et visuelles historiques et contemporaines, ainsi que sur la prise de décisions interprétatives issues du processus dialogique de recherche, de pratique et de réflexion. / This research is an auto-ethnographic thesis framed within the methodological canons of practice-led research, oriented towards an historicist interpretation of 18th-century cantatas and motets preserved in Hispano-American archives. Our goal is to validate the application of musical rhetorical procedures in the development of a historically verisimilar interpretation. This study is based on ideo-aesthetic principles of historicist interpretation, mainly associated with the concept of verisimilitude proposed in 1988 by Richard Taruskin (1945); as well as on interacting precepts of musical rhetoric and theories of the passions, particularly those theorized in 1739 by Johann Mattheson (1681 - 1764). We focus on the intersemiotic relationship between the literary text and the rhetorical figures that affect the melody, based on the categorization proposed in 2000 by Rubén López-Cano (1966). In this sense, the analysis of elocutio (rhetorical style, elocution, eloquence) is at the center of this research, with the aim of making our interpretation consistent with the rhetorical discourse implicit in the compositions. Likewise, the rhetorical precepts devised by composers and deliberately applied by us throughout the creation of our own discourse find expression in our public performance or pronuntiatio. As a reference of this rhetorical phase, we review some considerations exposed in 2012 by Rafael Palacios Quiroz (1962), the theorizations published in 1752 by Johann Joachim Quantz (1697 - 1773), and iconographic and documentary information (treaties) of the XVII and XVIII centuries. The hermeneutical procedures related to this type of research are developed from the critical analysis and triangulation of information contained in historical and contemporary literary and visual sources, as well as from the interpretative decision-making resulting from the process of research, practice, and reflection.

Title from accompanying document. / Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble. / Digitized by Kansas Correctional Industries

In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

No description available.

by Jerry M. Cain / Typescript / Includes complete vocal and instrumental scores of 2 liturgical motets and 3 sacred concertos of the early 17th century transcribed into modern notation / For mixed voices and/or instruments / M.M. Florida State University 1994 / Compositions LE45-48, 143 in Levoča Ms. Mus. 13993; ms. of German composers, copied in organ tablature by Johannes Schimbraczky / Includes bibliographical references / Score texts in German and Latin; 2 scores are without text

The purpose of this Thesis is to present a modern critical edition of the Missa Assumpta est Maria (H. 11) and the Elevation a 5, sans dessus de violon (H. 251) of Marc-Antoine Charpentier (c. 1634-1704). The Thesis is divided into three chapters. The first chapter provides an introductory biography of the composer and a general overview of his works. The second chapter deals specifically with the Missa Assumpta est Maria and the Elevation a 5, offering first an investigation of the historical background to these works. This discussion continues with stylistic analyses and is followed by an examination into questions of performance practice that are raised by the music. The chapter is completed with a declaration of editorial principles, critical notes, texts and translations, and a conclusion. The final chapter of the Thesis is comprised of the edited transcriptions of the Missa Assumpta est Maria and the Elevation a 5, sans dessus de violon. Endnotes and bibliography are inserted at the end of chapter two.

This study is the first step toward a better understanding of the introduction of pervasive imitation at the end of the fifteenth century. The focus is on selected works of Loyset Compère: the ténor motet Omnium bonorum plena, two motetti missales cycles and twenty chansons. Four types of repetition have been identified in these works: imitation, free repetition, repeated modules and doubling. The main analysis is based on the statistical frequency of the different types of repetition. Percentage tables allow us to observe stylistic changes between early and late chansons and also underline some resemblances between late chansons and motetti missales. Different types of repetition tend to vary in length; imitation generally uses longer melodic lines than other types of repetition. I also studied pitch intervals of repetition used by Compère. I have noticed that unlike some composers of the time, Compère used pitch intervais other than the octave and unison, mainly the fifth and principally in his late chansons. Finally, I have constructed a System of modular classification which allowed me to identify unifying devices used by Compère in his motetti missales. The results presented in this thesis suggest that Loyset Compère was a major contributor to the evolution of pervasive imitation.

Diss.--Philosophie--Bonn, 1994. / Extraits de textes en latin et en italien. Catalogue des livrets (VL) et des compositeurs (VK). Bibliogr. p. 433-463. Index.

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.

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.