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Magnifikat und Benedictus : die ältesten Zeugnisse der judenchristlichen Tradition von der Geburt des Messias /Mittmann-Richert, Ulrike. January 1900 (has links)
Texte remanié de: Diss.--Evangelisch-theologische Fakultät--Tübingen--Eberhard-Karls-Universität, 1994. / Bibliogr. p. 240-260. Index.
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Geschiedenis van het meerstemmig magnificat tot omstreeks 1525Maas, Christian J. January 1967 (has links)
Thesis--Amsterdam. / "Bibliographie": p. [197]-205.
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Exegesis and eisegesis the choral composer as scriptural interpreter with special reference to settings of the Magnificat /Dougherty, Michael P. January 1900 (has links)
Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Welborn Young; submitted to the School of Music. Title from PDF t.p. (viewed Feb. 2, 2010). Includes bibliographical references (p. 94-97).
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The polyphonic magnificat in Renaissance Spain : style and context /Sargent, Joseph Matthew. January 1900 (has links)
Thesis (Ph. D.)--Department of Music, Stanford University, 2009. / Includes bibliographical references (leaves 318-337).
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The origins of cantus firmus used in the English Magnificat from the fourteenth to the seventeenth centuries /Eaton, Frank Allen. January 1987 (has links)
Thesis (D. Mus. Arts.)--University of Washington, 1987. / Vita. Includes bibliographical references (leaves [352]-363). Also available electronically.
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The magnificats of Johann Stadlmayr /Junkermann, Hilde January 1966 (has links)
No description available.
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A Study of Michael Praetorius' Megalynodia Sionia: An Historical and Stylistic Analysis and Selective Performing EditionSpears, Samuel Bruce 06 August 2009 (has links)
Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seventeenth century. His Megalynodia Sionia ("The Magnificats of Zion") is a collection of fourteen Magnificats for use in Vespers services. The compositions in the collection present a series of complicated issues that modern editors and performers must unravel to be able to perform this music. The most common method for performing Magnificats at this time was alternatim, in which different musical groups alternated in performing verses. For eleven of the Magnificats in Megalynodia, only six of the twelve verses are supplied by Praetorius. Appropriate sources for the other verses must be identified. Also, there was a tradition in the Lutheran church of inserting chorales between the verses of the Magnificat on feast days. The chorales would be songs associated with the occasion, for example Christmas or Easter. Praetorius gives important instructions to prospective performers as to how these insertions should be chosen and performed. Eleven of the Magnificats are parodies of works by other composers, Orlando di Lasso in particular. Parody technique is the use of polyphonic music by another composer as source material for a new composition. It was a very typical compositional method of the sixteenth century. Lasso started a Continental tradition of using parody technique in the Magnificat; in this collection Praetorius follows in his footsteps. One must take all these issues into account in attempting to create modern performing editions of this music. The study culminates in performing editions of two Magnificats from the collection.
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Le Magnificat : trois lectures musicales : l'interprétation de la symbolique et de la forme textuelle dans les Magnificat de H. Schütz, de J.S. Bach et de W.A. MozartAlexander, Kristian A. January 2004 (has links)
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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Homer Herpol, ca.1510-1573 /Sauerborn, Franz-Dieter. January 1991 (has links)
Diss.--Philosophie--Freiburg--Phil.-Fak., 1990. / Contient 3 vol. de musique. Bibliogr. p. XXIV-XXX.
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Untersuchungen zur Magnificat-Komposition des 15. JahrhundertsMeinholz, Josef, January 1900 (has links)
Inaug.-Diss.--Cologne. / Vita. "Notenbeispiele": p. [227]-[264]. Bibliography: [221-225].
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