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

In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.

Part I comments on the life and music of Cuthbert Hely. In Chapter 1, Hely's place in society is described. The only evidence for Hely's existence consists of a letter from Cuthbert Hely to Lord Herbert of Cherbury, and the unusual organization of the lute-book. Chapter 2 studies the style of Hely's lute music, using a pseudo-Schenkerian approach to show its harmonic and polyphonic characteristics. Part II presents a transcription of Hely's eight pieces, along with lute tablature, edited for modern performance. A selective bibliography is included.

Musicians have transcribed and adapted Johann Sebastian Bach's Sonatas and Partitas for Violin Solo, BWV 1001-1006, since Bach penned the works around the year 1720. Bach, himself, transcribed much of the material, adapting it for organ, harpsichord, lute, or even for his sinfonias and cantatas. It was also common for performers of the time to personalize these pieces with ornamentation, improvisation, dynamics, rhythmic interpretation, and in some cases, changes in pitch material.It is in this spirit that the author introduces marimba performance editions of Bach's Sonata no. 1 for Violin Solo, BWV 1001, and Sonata no. 2: Grave, BWV 1003, based on performances and transcriptions by guitarists and lutanists. The guitar and lute were selected as models due to their similarities to the marimba as well as the abundant resources that guitarists and lutanists have provided regarding Bach's unaccompanied string music. Their transcriptions and performances frequently include adaptations to fit their instruments' polyphonic abilities and sound characteristics. A similar approach is likewise suitable for the marimba. Thus, the present study includes an overview of Baroque performance practice as it relates to plucked-string instruments, analysis of published lute and guitar transcriptions of Bach's unaccompanied string music, and transcriptions and analysis of lute and guitar audio recordings. The plucked-string artists and scholars' approach is then assimilated into an authentic marimba performance edition of these works.

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.

Issued also as inaugural dissertation, Leipzig. / Includes index. "Quellenverzeichnis": p. vi-viii. "Literaturverzeichnis": p. 77-82. "Detailliertes und vergleichendes Quellenverzeichnis": p. 83-127.

Thesis (doctoral)--Universität zu Köln, 1986. / Includes bibliographical references (p. 239-258).

Issued also as inaugural dissertation, Leipzig. / Includes index. "Quellenverzeichnis": p. vi-viii. "Literaturverzeichnis": p. 77-82. "Detailliertes und vergleichendes Quellenverzeichnis": p. 83-127.

Document (D. Mus.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 145-152).

The Stammbueh or album of Johann Stobaeus, MS Sloane 1021 in the British Library, is dated January 8, 1640. Stobaeus, its owner, was Kapellmeister in Konigsberg, East Prussia. The album contains 164 pieces for ten- or eleven-course lute, including dances, secular pieces with generic titles, and settings of chorale tunes. Other major material includes two short sets of lute instructions; instructions for singers of liturgical music; poems by members of the Komgsberger Diahterkre's; and short rhymes and epigrams, many of which concern the lute. The dissertation presents a complete modern edition of the lute music and lute instructions, with commentary; biographical data concerning Stobaeus, with background material about Konigsberg and East Prussia; a selection of poems and epigrams, featuring all poems concerning the lute; and commentary on the literary material, especially the evidence it provides that the manuscript might have been compiled in its entirety around the written date of 1640, even though the music is old-fashioned.