Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 128-131). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Andrew Dell'Antonio. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Chicago, Department of Music, December 2000. / Includes bibliographical references. Also available on the Internet.

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 19, 1999, Sept. 26, 2002, and Apr. 25, 2003. Includes bibliographical references (p. 49-50).

Thesis--University of Southern California. / Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1978. -- 2 v. ; 21-27 cm. Bibliography: v.1, leaves 269-294.

Thesis (Ph. D.)--Texas Tech University, 2002. / Includes bibliographical references (leaves 151-153).

Not available / text

Santa Eulalia M. Md. 7, dated January 20, 1600, is part of the San Miguel Acatán Repertory, which originated in the northwestern highlands of Guatemala and is presently owned by the Lilly Library of Indiana University. The manuscript contains thirty-four four-part songs and dances, two thirds of which are villancicos for Christmas, Easter, the Eucharist, and the feasts of All Saints and St. Michael. The remaining third consists of Latin biblical texts in either fabordón or contrapuntal settings, three pieces with Náhuatl texts, and an instrumental pavana. The thesis contains a modern edition of Santa Eulalia M. Md. 7 with critical notes and commentary, a comparison of the pieces with villancicos and fabordones of European origin, and a survey of several aspects of Mayan culture.

This document addresses the cultural and significance of the battle villancico, El más augusto campeón, and its historical, social, and musical contexts within the villancico genre of the Latin American Baroque. This study focuses on the villancico, El más augusto campeón, and explores the possible origins of the text and its relevance to the political and social structure of Cuzco's San Antonio Abad Seminary. Other areas of investigation are the musical analysis of the score and performance practice issues that surface when making choices as a conductor. Considering the seminal position villancicos held in the catechization of the Incans, in part due to their popular nature, the study of a representative example of this significant genre lends further insight into how important the villancico was to the ordinary and feast services of Peruvian (and, by association, Latin American) churches. While within the villancico's textual and musical structure one reads the obvious reflection of peninsular Spanish Catholic culture, its application to the criollo subculture carries an even more striking relevance.