Doctoraatsverhandeling--Leuven--Katholieke universiteit, 2001. / Contient la musique de certains motets en fin de volume. Bibliogr. p. 227-250. Index.

Submitted by FERNANDO LUIZ CARDOSO PEREIRA (fcperera@gmail.com) on 2017-05-31T21:11:39Z No. of bitstreams: 1 Tese Fernando Luiz Cardoso Pereira.pdf: 69332256 bytes, checksum: f9c99b61bec545f328728e23c19ce114 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-06-02T13:15:54Z (GMT) No. of bitstreams: 1 pereira_flc_dr_ia.pdf: 69332256 bytes, checksum: f9c99b61bec545f328728e23c19ce114 (MD5) / Made available in DSpace on 2017-06-02T13:15:54Z (GMT). No. of bitstreams: 1 pereira_flc_dr_ia.pdf: 69332256 bytes, checksum: f9c99b61bec545f328728e23c19ce114 (MD5) Previous issue date: 2017-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo deste trabalho foi estudar aspectos estruturais em peças polifônicas de Adrian Willaert, visando identificar possíveis relações entre sua obra vocal e instrumental, nominadamente os gêneros moteto e ricercare. Entre os diversos aspectos estruturais que serviram como base de comparação, a cadência foi eleita como elemento comum predominante e mensurável, por seus padrões de ocorrência e tipologia associados à uma classificação relativamente bem estabelecida por Bernhard Meier. Alguns tipos cadenciais pouco comuns foram identificados em peças de Willaert, em especial a cláusula melódica cantizans fuggita, que contudo não poderia ser atribuída ao próprio compositor sem uma investigação sobre sua possível ocorrência em obras de compositores influentes pregressos, como Josquin. Tal observação implicou no estudo de fontes primárias pregressas a Willaert, no intuito de identificar, de um lado, aspectos que corroboraram o desenvolvimento da música instrumental a partir de modelos vocais ao longo dos séculos XV e XVI e, de outro, possíveis influências relacionadas ao uso de tipos cadenciais incomuns. Foi desenvolvido um modelo de plano cadencial expandido na medida em que as peças foram analisadas, contemplando também um método de análise motívica que estimulou o exame de escopo deste método analítico convergente em uma peça de Clemens non Papa, compositor contemporâneo mas pouco relacionado ao círculo de Willaert. Como conseqüência desta pesquisa, foi possível identificar uma estrutura cadencial denominada ‘cadência escalonada’ como um último meio de articulação potencial, além de alguns agrupamentos estruturais acoplados ao padrão cadencial cantizans-tenorizans, nomeado aqui como ‘cadência-C/T’. / The goal of this work was the study of structural aspects in polyphonic pieces by Adrian Willaert, aiming to identify possible relations between his vocal and instrumental works, namely the moteto and ricercare genres. Among the various structural aspects that served as a basis for comparison, cadence was chosen as a measurable and predominant common element, by patterns of occurrence and typology associated with a relatively well-established classification by Bernhard Meier. Some unusual cadential species were identified in Willaert’s pieces, specially the melodic clausula cantizans fuggita, which however could not be attributed to the composer without an investigation on its possible occurrence in works by influential composers such as Josquin. This modification implied in the study of primary sources previous to Willaert, in order to identify, on the one hand, aspects that corroborated the development of the instrumental music from vocal models during the fifteenth- and sixteenth-centuries and, on the other hand, possible influences related to the use of these unusual cadential species. An expanded cadential plan model was developed as the pieces were being analyzed, including a method of motivic analysis that prompted the scope examination of this converging analytical method in a piece by Clemens non Papa, a contemporary but unrelated composer to Willaert’s circle. As a consequence of this research, it was possible to identify a cadential structure nominated ‘staggered cadence’ as a ultimate means of potential articulation, besides some structural groupings coupled with the basic cadential pattern cantizans-tenorizans, here nominated as ‘C/T-cadence’.

Thesis (Ph. D.)--Princeton University, 1982. / Appendix III: "The music of Willaert." eContent provider-neutral record in process. Description based on print version record. "List of works cited": leaves 384-401.

Thesis (Ph. D.)--Princeton University, 1982. / Appendix III: "The music of Willaert." eContent provider-neutral record in process. Description based on print version record. "List of works cited": leaves 384-401.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1986. / Includes indexes. Publisher's no.: UMI 8711146. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [236]-249).

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 1986. / Includes indexes. Publisher's no.: UMI 8711146. Includes bibliographical references (leaves [236]-249).

Une trentaine d’œuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses œuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des œuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ;d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à Hesdin. / About thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objectives informations. This study attemps to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of the sixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym « Hesdin » may possibly hide two different composers.The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Une trentaine d’oeuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses oeuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des oeuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ; d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à Hesdin / About thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objective informations. This study attempts to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of thesixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym “Hesdin” may possibly hide two different composers. The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin