Diss.--Philosophy--Ann Arbor (Mich.)--Michigan state Univ., 2001. / Deux tomes en 1 volume. Bibliogr. p. 546-562.

Diss.--Geisteswissenschaftlichen Fakultät--Salzburg--Paris-Lodron-Universität, 1988. / Bibliogr. p. 255-264.

Diss.--Phil.-Fak.--Würzbourg--Julius-Maximilians-Universität, 1988/89. / Bibliogr. p. 237-260.

Lamentatio Jeremiae Prophetae, Opus 68, composed by Ernst Krenek in 1941, is a musical work that is difficult to analyze and classify due to its fusion of contrasting musical styles. The pervasive dissonance of the work shows its modern twelve-tone organization, yet other aspects more closely resemble the sacred music of the early Renaissance. Analysis of Lamentatio solely in terms of the atonal twelve-tone system belies the work's full complexity and range of expression. While the twelve-tone system is the basis for the organization of the work, Krenek radically modifies the system to allow for more possible combinations of tones through an innovative technique he calls "rotation." The primary objective of this study is to consider the influence of early Renaissance sacred music, particularly that of Johannes Ockeghem, on certain aspects of Lamentatio, including the text, pitch organization, form and structure, rhythm and meter, and expressive markings. The study reveals that though the pitch organization is based on the twelve-tone system, Krenek uses the increased flexibility granted by his rotation technique to create implications of the modal system of the Renaissance. In the other aspects considered, the music of Lamentatio also bears clear Renaissance influences. A thorough understanding of these earlier influences in Lamentatio will influence both future performances and written characterizations of this enigmatic work.

Thesis (Ph.D.)--Michigan State University, 2001. / Includes bibliographical references (leaves 545-562).

Four composers have been chosen for this study. They were the leaders of four successive generations of composers influential in the fifteenth and early sixteenth centuries. Their masses were written between the years 1420 A.D. and 1560 A.D. Many significant changes took place during this period of one hundred forty years. Older compositional techniques such as the use of formes fixes and isorhythm all but disappeared. Cantus firmus technique was transformed and extended to unify the mass cycle. Aesthetic considerations became more important to the composer than liturgical canons, and composers began to regard themselves as artistic creators not mere servants to the Church. The rise of humanism placed man at the center of his music, making it more expressive and personal then ever before.

Thesis (M.M.)--Butler University, 1985. / Includes bibliographical references (p. 474-476).

No description available.

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

No description available.