Inaug.-Diss.--Bern. / Vita. Bibliography: p. 75-76.

Inaug.-Diss.--Bern. / Vita. Bibliography: p. 75-76.

Thesis (M.M.)--University of North Texas, 2002. / Includes bibliographical references (p. 69-70).

This study examines in detail the various aspects of the segmentation process as applied by Obrecht and Josquin to the chanson Malheur me bat, especially the effect of this process on the structure of each composer's respective mass. Although musical aspects such as cadences and mode have varying degrees of influence on the structure of these two masses, the primary influence is the establishment of proportional relationships that occur as a result of the segmentation process. Sources of previous music research frequently point out that Obrecht's Mass utilizes both the Phrygian and Aeolian modes, while in Josquin's Mass the Phrygian mode is the firmly established mode throughout. Since segments in Obrecht's Mass are usually not connected to one another, strong cadences frequently occur at the end of the segments throughout. On the other hand, since the segments in Josquin's Mass are usually connected to one another, weak internal cadences frequently occur throughout, with strong cadences reserved for the end of sections.

No description available.

Thesis--Munich. / Includes indexes. Bibliographies: p. 186-192.

No description available.

In der vorliegenden Studie verbinden sich kulturgeschichtliche und analytische Erwägungen zum »art-song reworking« im späten 15. Jahrhundert. Am Beispiel verschiedener Malheur me bat-Bearbeitungen von Agricola, Josquin und Obrecht werden vor allem inhaltliche Aspekte der Bezugnahme auf die Chanson-Vorlage thematisiert. In einem imaginären Dialog mit einem vergangenen ›Expertenhörer‹ steht dabei die Frage im Vordergrund, auf welche Weise der Schöpfer der betreffenden Chansonmessen bestimmte Eigenarten der zugrunde liegenden Vorlage in seiner Bearbeitung hervorkehrte, abschwächte oder gar zuspitzte. / The present article combines both cultural-historical and analytical reflections on »art-song reworking« of the late fifteenth century. Using the example of several reworkings of Malheur me bat – from Agricola, Josquin, and Obrecht – references are discussed primarily from the point of view of the content. In an imaginary dialog with »expert listeners« of the past, the question is raised, in which manner the composer of the respective chanson masses either highlighted, weakened or exaggerated specific idiosyncrasies of the underlying original.