In the sixteenth century the vocal music of Josquin des Prez (ca. 1450-1521) was frequently intabulated for the lute. This study focuses on the surviving such arrangements published in eight different sources by the Netherlandish printer, Pierre Phalèse (ca. 1510-1576), between 1547 and 1574. These comprise 15 lute intabulations of nine different works, including mass movements, motets, and chansons. Volume I, Chapter 1 discusses lute arrangements of Josquin in the sixteenth century generally, Chapter 2 focuses on the output of the Phalèse firm in particular, and Chapter 3 analyses some specific characteristics of the Josquin intabulations found in the Phalèse prints. Volume II comprises transcriptions of all 15 Josquin works published by Phalèse, aligned with the vocal versions, original tablature, and accompanied by editorial commentary. Topics covered include the distribution of sixteenth-century lute arrangements of Josquin's works and implications for his status and reputation; sources used; the market for and function of lute prints generally and of Phalèse in particular; the nature of and relationship between pirated and original tablatures in the Phalèse books and the identity of Phalèse's arrangers; the nature of variations between arrangements and vocal models, and between different arrangements of the same work; and the treatment of musica ficta. This thesis comprises of two volumes, incorporating 14 tables and 15 transcriptions.

Thesis (Ph. D.)--Hochschule für Musik und Darstellende Kunst, Frankfurt am Main. / 30 lute intabulations of Arcadelt madrigals: p. 432-497. Includes bibliography (p. 498-506) and indexes.

In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished