Thesis (M.A.)--University of Wisconsin--Madison, 1955. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 134-139).

Inaug.-Diss.--Munich. / Vita. Bibliography: v. [1], p. 235-238.

Over the course of the development of the violin and viol families between the second half of the sixteenth century and the first decades of the seventeenth century, players of these instruments did not conform to the existing roles for professional instrumentalists established by wind consorts and other civic musicians. In determining the early sources of professional players of bowed strings, the contexts in which choirboys and young church musicians came to study instrumental music as well as the functions of the ensembles, repertoires, and instruments illuminate the output of the subsequent generations of adult composers and professional musicians, particularly the Venetian School, the first to write idiomatic instrumental music and to specialize in instrumental composition and performance. The acceptance of bowed strings into church music contexts is reflected by the preponderance of string-playing maestri at religious institutions, most notably Marc’Antonio Ingegneri in Cremona and Claudio Monteverdi in Mantua and Venice. The ultimate indication of the presence of string instruments in the church music-educational system and thus the Church as a source of professional string players is the advent of sacred music with designated parts for strings: the stile concertato developed at San Marco and expanded by Gabrieli, Monteverdi, Grandi, and Viadana among others, along with evidence of increasing instrumental participation in the ceremonial sacred music that contributed to its development.

The lecture recital was given on August 8, 1978. The discussion of constructive features in Gabrielli's In ecclesiis (1615) and Canzon VIII à 8 (1615) and Stravinsky's In Memoriam Dylan Thomas established that the architecture of St. Mark's Cathedral and the selected works by the composers bear a simple number relation.

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As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influenced the composer’s decision to add brass. Four representative pieces will be studied: In Ecclesiis by Giovanni Gabrieli (c.1554-1612); Herr, unser Herscher by Heinrich Schütz (1585-1672); Ecce Sacerdos by Anton Bruckner (1824- 1896); and Ode a la Musique by Frank Martin (1890-1974).

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.