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The alfabeto song in print, 1610-ca. 1665: Neopolitan roots, Roman codification, and "Il gusto popolare"Gavito, Cory Michael 28 August 2008 (has links)
Not available
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A singer's guide to performing works for voice and electronicsMontanaro, Larisa 09 August 2011 (has links)
Not available / text
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The sīra of the prophet Muḥammad in the repertoire of the contemporary Egyptian MaddāḥinAbdel-Malek, Kamal January 1992 (has links)
This is an interpretive study of the life of the Prophet Muhammad as it is artistically depicted in the repertoire (especially the narrative ballads) of fifty-one contemporary Egyptian maddahin (singers of eulogies in honour of the Prophet Muhammad, sing. maddah). The elements of this repertoire, as diverse as narrative ballads, classical odes, Qur'an chanting, and the melodies of the secular songs of well-known Egyptian singers, do not exist as discrete units but rather as a lively tawlifa (blend)--to use a common term in Colloquial Egyptian Arabic (CEA). This study is about blends where discrete units lose their borderlines and leak into one another, about phenomena which are "betwixt and between" the perceived scholarly categories which confidently delineate boundaries between elite and popular Islam, the historical and the legendary Muhammad, the sacred and the profane, orality and writing, standard and colloquial Arabic. / In order to understand the process which marks the making of the people's Muhammad, the study deals with the sources and the contents of the repertoire of the Egyptian maddahin. The performance of these singers as well as their interaction with the audience are also considered. The "legendary" material in this repertoire is attested as historical by many authoritative and well-recognized "orthodox" authors of the past. Classical Arabic, classical poetic forms, philosophical notions, long believed to be the exclusive possessions of the learned, are freely utilized in the ballads and popular songs under study. The people's Muhammad appears as both a commanding figure, empowered by the supernatural, and a touchingly vulnerable human being; God's ascetic messenger and a man who savours life's lawful pleasures; an eloquent speaker who utters Qur'an-like terse Arabic and a lovingly familiar figure who also uses local patois. Bipolarity, beloved of many scholars, is seriously challenged by the art of the Egyptian maddahin. A renewed effort has to be made to discover more valid categories which will take into account the intermediary combinations (Mischbildungen) characteristic of that art.
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A methodology for the analysis of melodic accent in Renaissance sacred polyphonyEthier, Glen Edward 05 1900 (has links)
Modern scholars have suggested various approaches to the
analysis of the pretonal repertory. However, if we consider
the question of how the individual voice parts interact in a
Renaissance polyphonic composition to create coherence for the
movement as a whole, we find that there are no tools available
to undertake such a task. We may be able to speak generally
of the arrival of certain moments as relatively accented or
unaccented; we may even be able to dissect a complete melodic
line with some segmentation process to highlight motivic
structure, phrase development or contour-articulated pitch
events. But there are no analytic strategies available yet
which are capable of disclosing the structures of independent
voice parts and their interaction as timepoint-accenting
elements capable of creating formal, rhythmic and pitch-class
patterns. This study outlines a methodology that has been
developed to deal with these specific issues.
The analytic strategy is based on the perception of
accents in individual voices of polyphonic works. The types
of accents germane to Renaissance polyphony include
durational, leap, contour, cadential and beginning-accents.
The study proposes a simple, bipartite classification of
accentual strength—strong or weak. Each voice part in a work
is then analyzed, with every pitch attack represented as
strongly or weakly accented through special notation developed
for the analysis.
The methodology affords a picture of the most strongly-
accented timepoints in the individual melodies of three- and
four-voice cantus firmus masses of the mid- to late fifteenth
century. The relative strengths of these accents, along with
their synchronization in the multi-voice aggregate, are
disclosed through the notation. After renotating scores with
this special notational symbology, we extract points of
coincident strong accents in three or more voices to create
accent profiles for each section of a movement. We then
compare profiles of same-texted works by different composers
in order to disclose normative formal and pitch-class
procedures in some Renaissance compositions.
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Aspects of the Korean traditional vocal genre,kagok: female kagok and the call for a new integrative kagok notationLee, In-suk January 2007 (has links)
Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.
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A survey of the choral music of Halsey StevensVanderkoy, Paul Arthur January 1981 (has links)
Although Halsey Stevens is a distinguished American composer whose works are widely accepted, and although he has forty-one published works for various choral combinations to his credit, of which four are conceived for combined choral and instrumental forces, there is at present no survey of this choral literature in existence. Since this music receives wide acceptance, the author has felt the need to provide a survey in the hope that the discussions and descriptions will enable choral conductors to discover a source of beautiful music, and to choose works pertinent to their own needs from this body of literature.Chapter I consists of a review of literature pertinent to Stevens and his style.Chapter II is an overview of analysis, including a discussion of analysis in relation to choral music.Chapter III presents a summary of stylistic characteristics as found in Stevens’ choral music. A discussion of the author’s conclusions ends the chapter.The survey is presented in chapters IV and V. Chapter IV deals with the short works. Those which are longer in duration, principally comprising combinations of choral and orchestral forces, constitute chapter V. Campion Suite, for a cappella choir, has been included with this section of longer works, since it is the author’s opinion that it is best performed as an entity.A brief data summary precedes discussion of each work. This summary includes publication information, date of composition, place of composition, any dedicatory information, voicings and instrumentations, sources of text, vocal ranges, and timings. The discussion of the work following the summary is intended to provide a succinct description, sufficient to enable a prospective director to decide whether the work is suitable to his performance needs. Musical examples are included to illustrate various aspects of Stevens’ style as well as to show unusual and interesting features of his music.Appendix I contains the musical examples referred to in the survey, while appendix II lists the published choral music in chronological order.
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Simone Verovio, 16th century composer and engraver : Diletto spirituale.Kimmel, Lessy. January 1973 (has links)
No description available.
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The polyphonic compositions on Marian texts by Juan de Esquivel Barahona : a study of institutional Marian devotion in late Renaissance Spain /O'Connor, Michael Brian. Kite-Powell, Jeffery T. January 2006 (has links)
Dissertation (Ph.D)-- Florida State University, 2006. / Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Includes biographical sketch. Includes bibliographical references (p. 221-245).
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Incomplete Ursatzformen transferences in the vocal music of Heinrich SchenkerAyotte, Benjamin McKay. January 2008 (has links)
Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008. / Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.
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An open-ended database guide to assist ministers of music and vocal soloists to select solos that will match and enhance the lectionary readings during the Easter cycle (year "A")Bunnell, John H. January 2006 (has links)
Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Includes bibliographical references.
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