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Opera parody in eighteenth-century France : genesis, genre, and critical function /Harvey, Susan Louise. January 1900 (has links)
Thesis (Ph. D.)--Department of Music, Stanford University, 2002. / Includes bibliographical references (p. 427-439).
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Bach's Mass in B minor an analytical study of parody movements and their function in the large-scale architectural design of the mass /Pérez Torres, René. January 2005 (has links)
Thesis (M.M.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 191-193).
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Musical Borrowing in the Choral Music of Andrew RindfleischGlann, Kerry 12 1900 (has links)
American composer Andrew Rindfleisch (b. 1963) has contributed twenty-one pieces to the repertoire of contemporary choral literature to date. His works have been commissioned, premiered, and recorded by notable choral ensembles and performed in significant venues around the country. Influenced by his own early choral singing experience in his native Wisconsin, much of Rindfleisch’s choral music is infused with influences of the music of earlier composers and choral idioms. With these works, Rindfleisch participates in a long-standing trend in choral composition of looking to the musical past for inspiration and procedure while writing in a contemporary harmonic vocabulary, and his efforts can be evaluated through the lens of a study of musical borrowing. Through a case study of five of Rindfleisch’s choral works – “In manus tuas,” “Mille regretz,” “Psalm,” “Anthem,” and “Graue Liebesschlangen” – this document identifies common characteristics of Rindfleisch’s choral music and demonstrates his uses of musical borrowing and allusion. The influence of Renaissance polyphony, Debussy, Brahms, and German expressionism is revealed.
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Une approche synoptique des motifs et des modules dans la messe parodique /Lessoil-Daelman, Marcelle January 2002 (has links)
This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models. / The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
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Blending the sublime and the ridiculous a study of parody in György Ligeti's Le grand macabre /Sewell, Amanda Jo. January 2006 (has links)
Thesis (M.M.)--Bowling Green State University, 2006. / Document formatted into pages; contains vi, 63 p. : ill., music. Includes bibliographical references.
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Une approche synoptique des motifs et des modules dans la messe parodique /Lessoil-Daelman, Marcelle January 2002 (has links)
No description available.
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Upgrading Marenzio's models : genre hierarchy and the parodies of Thomas MorleyVelle, Aimee. January 2007 (has links)
This study details the role of genre enhancement and genre upgrading in four parodies by Thomas Morley. These four parodies, first published in Morley's The First Book of Balletts to Five Voices (1595), are based on villanelles from Luca Marenzio's collection I cinque libri di Canzonette, Villanelle et arie alla Napolitana a tre voci (1584-1585). Through the application of specific techniques, Morley transformed Marenzio's villanelles into parodies that, according to Morley's treatise A Plain and Easy Introduction to Practical Music, are higher in the genre hierarchy than their respective models. Comparative analyses will reveal the techniques of genre enhancement and genre upgrading at work in Morley's parodies.
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Upgrading Marenzio's models : genre hierarchy and the parodies of Thomas MorleyVelle, Aimee. January 2007 (has links)
No description available.
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Handel's notoriety as a borrower : plagiarism and English national identity /Murray, Nina M. January 2009 (has links)
Thesis -- Departmental honors in Music. / Bibliography: ℓ. 88-92.
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Bach's Mass in B minor: An Analytical Study of Parody Movements and their Function in the Large-Scale Architectural Design of the MassPérez Torres, René 12 1900 (has links)
Most studies of the Mass in B Minor deal with the history of the work, its reception history, primary sources, performance practice issues, rhetoric, and even theological and numerical symbolism. However, little research focuses on an in-depth analysis of the music itself. Of the few analytical studies undertaken, to date only a limited number attempt to explain Bach's use of parody technique or unity in the whole composition. This thesis focuses on understanding three primary concerns in regards to the Mass in B minor: to comprehend how preexistent material was adapted to the context of the Mass, how this material functions in the network of the entire composition, and how unity is achieved by means of large-scale voice leading. The results of this study not only provide new information about this monument of Western music, but also provide insight to the deep sense of large-scale structure in Bach's work.
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