In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-07-16Bitstream added on 2014-06-13T20:09:03Z : No. of bitstreams: 1 souto_lha_me_ia.pdf: 5906275 bytes, checksum: 6f47faebb288cbcfefa3f05d53c9a453 (MD5) / Esta pesquisa constitui um estudo crítico de transcrições para violão do repertório para instrumentos de cordas dedilhadas, particularmente vihuelas, guitarras e alaúdes dos séc. XVI ao XVIII. Objetivando a proposição de subsídios teóricos para a elaboração da interpretação desse repertório, este trabalho discute os sistemas de codificação, os procedimentos de transcrição e a execução musical do repertório em questão, por meio do diálogo entre as Práticas Interpretativas e a Musicologia Histórica, assumindo como vertentes metodológicas o estudo dos sistemas de codificação, a crítica textual e a análise interpretativa de gravações. / This research is a critical study of transcriptions for the guitar repertoire for plucked string instruments, particularly vihuela, guitars and lutes of the century. XVI to XVIII. Aiming to propose theoretical basis for the elaboration of the interpretation of this repertoire, this paper discusses the coding systems, procedures transcription and musical performance of the repertoire in question through dialogue between the practices and Historical Musicology and Interpretation Practices, assuming as methodological approaches the study of coding systems, textual criticism and the interpretative analysis of recordings.

The purpose of this research paper has been to understand the medieval and renaissance tablature of Robert ap Huw through a comparison between Paul Dooley’s and William Taylor’s recordings of the piece Kaniad y Gwyn Bibydd from the manuscript.  My text contains a short history of Robert ap Huw’s manuscript and a description of the medieval Welsh culture, in which the music was born. It is then followed by a musical analysis of the chosen piece. My work has led me to delve deep into different versions of how the tablature could be interpreted and made me understand how vast and complex this subject is. / <p>Inspelning och mixning av stycket Kaniad y Gwyn Bibydd (arr. Peter Greenhill) av Fabian Rosenberg.</p>