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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 (PhD) Florida State University, 2006. / Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-10-07). Document formatted into pages; contains 246 pages. Includes biographical sketch. Includes bibliographical references.
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O canto de Oyá no candomblé keto: um estudo dos aspectos culturais e etnomusicológicosSilva, Sara Jane da January 2009 (has links)
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Previous issue date: 2009 / Esta dissertação buscou estudar a música vocal do Candomblé Keto, com o objetivo de delinear suas principais características culturais. Procurou-se, igualmente, investigar até que ponto o canto propicia o processo de construção da identidade do iniciado e das formas de associação deste com Oyá, o Orixá das ventanias e tempestades. O canto, aqui, foi entendido como a parte da execução vocal da música. Os aspectos culturais se associaram à idéia da música como expressão da comunicação de um determinado grupo. O presente estudo de caso teve como método de abordagem a observação participativa e utilizou entrevistas semiestruturadas. Outrossim, buscou-se uma visão multidisciplinar do canto e de seus aspectos culturais, a partir da perspectiva do campo de interesse dos Estudos Culturais, da Antropologia e da Etnomusicologia, verificando quais os diálogos possíveis entre estas disciplinas. Ao longo da pesquisa pôde-se observar que o candomblé se caracteriza como um espaço de sobrevivência cultural e, por intermédio da mitologia de Oyá, o canto possibilita a manutenção de estratégias de identificação. / Salvador
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'So much neglected?' : an investigation and re-evaluation of vocal music in Edinburgh 1750-1800Edwards, Thomas Hayward January 2015 (has links)
This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.
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Techniques of composition in the choral music of Anton WebernPetrowitz, Thomas Fredrick January 1971 (has links)
... I understand the word 'Art' as meaning the faculty of presenting a thought in the clearest, simplest form, that is, the most "graspable" form ... That is my view of art. And that is why I have never understood the meaning of 'Classical', 'Romantic1 and the rest, and I have never placed myself in opposition to the masters of the past but have always tried to do just like them: to say what it is given to me to say with the utmost clarity …
Anton Webern / Arts, Faculty of / Music, School of / Graduate
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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. / Arts, Faculty of / Music, School of / Graduate
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Ornamentation in Mozart’s concert arias for Aloysia Weber: the traditions of singing and embellishmentDorenfeld, Joanne Williamson January 1976 (has links)
The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law.
These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study.
The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included.
The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate
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Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640Chung, Kyung-Young 12 1900 (has links)
Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.
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A Capella EletronnicaBonneau, Paul G. (Paul Gregory) 08 1900 (has links)
The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
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A History and Survey of the Baroque Motet for One Solo Voice Outside of ItalyBolton, Thomas W. (Thomas Wayne) 05 1900 (has links)
During the Baroque Era (1600-1750) many motets were written for one solo voice, representing a major departure from the polyphonic motet settings which had been produced since before 1250. The study traces the development of the solo motet from it s first appearance in the Centro concerti ecclesiastici of Lodovico Grossi do Viadana in 1602 up to 1750, when the style began to deteriorate along with the Neapolitan opera style.
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The Huguenot psalter in the low countries : a study of its monophonic and polyphonic manifestations in the sixteenth century /Slenk, Howard January 1965 (has links)
No description available.
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