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No abstract available / Thesis (M.Mus.)-University of Natal, Durban, 1988.

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

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The investigation of primary sources of thirteenth-century polyphony has been closely related to questions of the date and provenance of the surviving manuscripts. Previous studies have taken a single book and attempted to place it chronologically and topographically within the history of music of the thirteenth century. This thesis considers surviving material related to thirteenth-century polyphony and evaluates the patterns of production found there. These considerations are supported by a review of chronology in the period. Using techniques derived from the fields of paleography, codicology, and art history, the manuscripts are loosely divided into Parisian and non-Parisian, and the contrasting types of book-production are placed in the context of the contemporary production of other types of book. At the most basic level, Parisian books betray a professional and organised system of production which relates to the generation of books which preceded the establishment of the pecia system whilst provincial manuscripts seem to suggest a more informal and ad-hoc construction and circulation. The data obtained from such source-critical inquiry are then used to ask questions concerning the distribution of genre with the discussion focused primarily on the motet and its various sub-species: bilingual motet, rondeau-motet, etc. Conclusions as regards distribution of the music suggest a distinction between Parisian practices and provincial, particularly Artesian, musical cultures. It is argued that concordance-bases and origins of surviving sources suggest the exclusive cultivation of some genres in Paris, and, of others, in Artois or the provinces.

Thesis (M.A.)--Boston University / The cantatas of Alessandro Scarlatti (1660-1725) represent the culmination of more than a century of Italian secular cantata composition. Although overshadowed by the immense popularity of the Neapolitan opera, the cantata served as the ideal medium for the experimentation with and the perfection of new musical techniques. Thus, while Scarlatti himself was far better known for his operas, his numerous cantatas are historically of more special musical significance. Although Scarlatti's cantatas are distinguished by their beauty and craftsmanship, only a very few have been edited in modern published editions. This is despite the fact that almost eight hundred of Scarlatti's cantatas are known to exist in manuscript form. These have been exhaustively indexed by Edwin Hanley in an unpublished Yale University dissertation, "Alessandro Scarlatti's Cantate da Camera: A Bibliographic Study" (1963). However, the forthcoming complete edition of them lies years in the future. [TRUNCATED]

Abstract Not Available.