The editor's thesis (Ph.D.)--University of North Carolina at Chapel Hill, 1967. / Typescript (v. 1) Hymns, psalms, sacred and secular part-songs. For cantus, altus, tenor, and bassus. German words; editor's commentary in English. "Simler ... wrote many of the poems set to music and some of the music, but in the first edition ... he names Andreas Schwilge as the composer and arranger of the melodies." -- Leaf 30. eContent provider-neutral record in process. Description based on print version record. Bibliography: v. 1, leaves [281]-285.

Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.

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The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:35:25Z (GMT). No. of bitstreams: 1 Gomes_HermesCoelho_M.pdf: 911382 bytes, checksum: 050139607e19dab18b8ad22ab3baecab (MD5) Previous issue date: 2006 / Resumo: Em busca de uma maior compreensão da Sinfonia dos Salmos de Igor Stravinsky, tendo em vista sua interpretação dentro de um processo de preparação e execução, o presente trabalho apresenta recursos teóricos, históricos e técnicos bem como aponta elementos interpretativos como subsídios para o desenvolvimento de tal processo. O trabalho é composto de quatro capítulos que, tendo como foco central a obra em questão, aborda assuntos diversos buscando maior compreensão. O primeiro capítulo apresenta dados do compositor em uma perspectiva histórica. O segundo é uma reflexão sobre os textos bíblicos utilizados na obra e suas origens dentro da tradição hebraica. Já o terceiro capítulo é uma análise da partitura, onde são abordados parâmetros de forma, orquestração, instrumentação, escrita vocal, harmonia e contraponto. Concluindo o presente trabalho, o quarto capítulo apresenta elementos de interpretação da obra, com sugestões para sua preparação e execução. Este último capítulo, além de ser o objetivo primeiro do trabalho, justifica todo o esforço de sua realização / Abstract: As a means for a better understanding of The Symphony of Psalms by Igor Stravinsky, and having in mind its interpretation through the process of preparation and performance, this dissertation discusses theoretical, historical and technical elements that participate in the development of the interpretive process. It is comprised of four chapters each approaching distinct aspects of the composition. The first chapter, in historical perspective, presents data about the composer's life . The second reflects on the Biblical texts used in the work and their origins within the Hebrew tradition. The third presents an analysis of the score as it discusses technical aspects such as musical form, instrumentation, orchestration, vocal writing, harmony and counterpoint. As a conclusion, the fourth chapter discusses interpretive elements and practical suggestions for its performance and interpretation. This final chapter, is indeed the prime objective of this work, and justifies all effort for its realization / Mestrado / Mestre em Música