The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertoire to the more usually programmed Renaissance works.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T18:17:05Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_D.pdf: 16067202 bytes, checksum: 62a0b51ee340c1cc3d3ef9f5ccbfd44b (MD5) Previous issue date: 2010 / Resumo: Em Musica Poética (1606) , Joachim Burmeister oferece a primeira proposta de análise formal em música . A sua metodologia analítica tem um direcionamento retórico- musical e compreende a divisão em cinco categorias: "(1) investigação do modo; (2) investigação do gênero melódico; (3) investigação do tipo de polifonia; (4) consideração da qualidade; (5) secionamento da peça em afetos ou períodos" (BURMEISTER, ([1606] 1993, p.201). O presente trabalho propõe a análise da obra Lamentationes Jeremiae Prophetae de Orlando Di Lasso, segundo a sua quinta categoria. A sua aplicação nesta obra de Lasso pode revelar o valor da análise. A intenção inicial do autor, antes de mais nada, era pedagógica: ele tencionava ensinar os jovens músicos a compor, utilizando como meio: o estudo, a observação e a imitação dos recursos engenhosos empregados na obra pelos grandes mestres (emulação). A aplicação desta quinta categoria coloca o analista numa posição que diz respeito também ao intérprete: é preciso encontrar nas diversas partes do discurso musical os afetos sugeridos pelo compositor. Através da análise é possível recriar a atmosfera afetiva da obra, oferecendo uma importante ferramenta para a interpretação, com profundidade e acuidade estilística / Abstract: In Musica Poetica (1606) Joachim Burmeister offers the first proposal of a formal analysis in music. His analytical methodology has a rhetoric-musical orientation and includes a five-category division: "(1) investigation of the mode; (2) investigation of the melodic genus; (3) investigation of the type of polyphony; (4) consideration of the quality; (5) sectioning of the piece into affections or periods" (BURMEISTER, [1606] 1993, p. 201). This dissertation aims to analyse Lamentationes Jeremiae Prophetae by Orlando Di Lasso in accordance with Burmeister's fifth category. The application of his fifth category on Lasso's work can reveal the value of this analytical method. Initially the authors's intention was pedagogic. He wanted to teach young musicians how to write music using the study, observation and imitation of inventive resources employed by great masters (emulation). Nowadays the application of this fifth category puts the music analyst on a par with the music performer. It is necessary to find out first the affect suggested by the composer among the several parts of the musical discourse. Through the utilization of this fifth category it is possible to recreate the affective atmosphere of the work. At the same time it can provide the performer an important tool to help in the interpretation of the work with depth and a keener sense of historical stylistic acuity / Doutorado / Doutor em Música