No description available.

Thesis (Ph. D.)--University of Adelaide, 1991. / Includes bibliographical references (v. 2, leaves 174-194).

Thesis (D.M.A.)--Peabody Conservatory of Music, 1998. / Appendices: 1. Libretto -- 2. Bach's letters. Includes bibliographical references (leaves 246-276), discography (l. 277-282), and index.

Thesis--Brandeis University. / "A thematic index of Cesti's cantatas": leaves 106-159. "A selection of Cesti's cantatas": score (leaves 160-248). Includes bibliographical references.

Thesis (Ph.D.)--Boston University. / Many of Bach's greatest masterpieces contain movements based on music from earlier compositions. These parodies of previously composed works seemed to require as much, if not more, ingenuity than that required for the composition of fresh musical material. A thorough study, then, of Bach's technique of parody should provide new insight into his music and his methods of composition. All changes have been listed and classified in an appendix so that references, other than those cited in the text, can easily be made to the published work. References are made, whenever possible, to the edition of the composer's collected works by the Bach Gesellschaft. [TRUNCATED]

By the early eighteenth century, French music was tangibly influenced by the Italian style which had already permeated much of Europe. The French Cantata is symptomatic of that often disparaged influx. The cantatas of Rameau are a significant contribution to an important form. Written almost entirely in the early years of the artist's career, they hold details of his stylistic development. In the present study of Rameau's cantatas several aspects of his style are discussed as they relate both to his theoretic writings and to the various influences of the time. Examples of those stylistic elements found in the cantatas are cited and discussed. There is, as well, a comparison of the works to the poetic form standardized by Rousseau.

The musical compositions known collectively as the French cantata have remained relatively unknown since their popularity waned in the middle of the 18th century. In order to establish a foundation for their systematic study and to bring them to the attention of a wider audience, this survey and catalog have been prepared. The cultural mileu in which the cantatas were written, their formal structure, and principles related to their performance have been presented along with pertinent biographical and bibliographical information.

No description available.

Thesis (D.Mus.Arts)--University of Washington. / Bibliography: 232-241.

Thesis (D. Mus. Arts)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 138-145).