Thesis (Ph. D.)--New York University, 1984. / Typescript. Includes transcriptions of lute works by M. Dall'Aquila, M. Newsidler, and others. Includes indexes. Includes bibliographical references (v. 1, leaves 426-440).

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

Lecture : Transcription of Alessandro Piccini's lute passacaglia to the classical guitar -- Passacaglia (on the lute) / Alessandro Piccini -- Passacaglia (on the guitar) / Piccini ; transcribed by David Chapman. / text

Thesis (M.M.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 178-179).

Thesis (M.Mus)-- University of Adelaide, Elder Conservatorium of Music, 1982. / Typescript (photocopy).

Thesis (M.M.)--University of North Texas, 2004. / System requirements: Adobe Acrobat Reader. Includes score (p. 25-105) in tablature and modern notation. Includes bibliographical references (p. 110-112).

Although the present revival of interest in the lute and its music began in the late nineteenth century, it was not until the early 1970s that the historical method of lute playing in the Renaissance are paintings, woodcuts, old lutes, and lute books.

Inaug.-diss.--Freiburg i. Br. / Lebenslauf. "Schrifttum": p. 7-11.