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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.

So Hon-tou. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 55-59). / Text and abstracts in English and Chinese. / Abstract --- p.i / Table of contents --- p.iii / Introduction --- p.1 / Chapter Chapter I: --- "Relationship between the pipa and the guqin, and other instruments" --- p.7 / Chapter Chapter II: --- Establishment of authority and legitimacy of the editor's own edition --- p.17 / Chapter Chapter III: --- Influence of the record industry --- p.21 / Chapter Chapter IV: --- A Compilation of the Textual Parts from the Anthologies --- p.25 / Conclusion --- p.54 / Selected bibliographical references --- p.55

Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalanga language, at independence in 1966, in the early 1990's the Botswana government re-discovered that a nation without culture is a lost nation. Funds were then set aside to be used annually for the development of culture. In using these funds to revive their culture and traditional music, Bakalanga of North Eastern Botswana declared 21 May to be their annual cultural day. Photographs and video footage of these annual cultural festivals were taken by the researcher to help illustrate certain aspects of Ikalanga music and dance in this thesis. Several factors influencing Ikalanga traditional music were taken into consideration: the historical background of Bakalanga, their relationship with other tribes such as the Amandebele, their education, their language in relation to other languages and the missionary influence. Ikalanga traditional music instruments are described. The Mwali religion, which forms the basis of wosana music, linking Bakalanga of Botswana and those of Zimbabwe through the Njelele sacred place joint annual ceremonies, is discussed at length. Different Ikalanga traditional music types are addressed as follows: • Rain Making/Praying music; Wosana and Mayile • Traditional Music for Happy Occasions and Entertainment; Ndazula, Mukomoto, Woso, Iperu, Tshikitsha, Bhoro and Ncuzu./ Maskhukhu • Traditional Music for Healing Purposes; Mazenge (Shumba), Sangoma and Mantshomane. All the above music types are practised within Bukalanga communities publicly, with the exception of mazenge, which is regarded as sacred and private. Bhoro is also extinct in Zimbabwe. The notation of Ikalanga traditional basic musical themes is provided, except for mazenge and ncuzu. which were not found anywhere during this research. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

This study is concerned with the vertical combinations resulting from late sixteenth century cadential formulae and in passages immediately preceding these formulae. The investigation is limited to Masses dating from the last half of the sixteenth century and utilizes compositions from the following composers: Handl, Kerle, Lassus, Merulo, Monte, and Palestrina, Victoria. This study concludes that the progressions I-V-I and I-IV-I appear to be the only two root progressions receiving high enough percentages to be regarded as significant. These percentages are tempered by the fact that I-V-I and I-IV-I may be interpreted as repetitions of standardized cadential formulae found in the sixteenth century. The study also concludes that root motion by fifth accounts for no less than 67.35 per cent of the root movements analyzed during the investigation. The percentage differential between root movement by fifth and root movement by second (the interval receiving the next highest percentage) at no time drops below 40.41 per cent. The evidence indicates that root movement by fifth does account for the majority of the root motion analyzed in final cadential passages of Masses dating from the late sixteenth century. The percentage differential between root motion by second and root motion by third decreases as the chord progressions become longer. None of the differential percentages were judged to be high enough as to merit placing any significance of root motion by second over root motion by third.

This study is an evaluation of individual music textbooks from eight series for grades four, five, and six, by a definite criterion basis. It seems very worthwhile to have an evaluation of such books: (a) to aid in the wise selection of music books, and (b) to become familiar with the contributions of each series.

The problem with which this investigation is concerned is that of presenting a concise English translation of the book which Martin Agricola wrote in 1528 in German on the musical instruments and practices of his time. In addition to the translation itself, there is a major section devoted to a comparison of the material of Musica instrumentalis deudsch with other books and treatises on the same and related subjects which were written at approximately the same time or within the next hundred years. Agricola states that the purpose of his book was to teach the playing of various instruments such as organs, lutes, harps, viols, and pipes. He also noted that the material was prepared expressly for young people to study. To facilitate the accomplishment of this purpose Agricola wrote the book in short, two-lined, rhymed couplets so that the youths might quickly memorize the material and thus retain the instructions better.

This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico.

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