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Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.

Notre thèse se propose d'étudier les questions liées à la réalisation sonore des fugae, à partir des sources musicales d'un corpus d'œuvres attribuées à Josquin Desprez. Au sein du vaste répertoire des fugae composées au tournant du XVIe siècle, celles composées par Josquin constituent un ensemble remarquable par sa diversité, sa richesse technique et musicale, ainsi que par la complexité des questions qu'il soulève. En effet, la réalisation de ces fugae pose des difficultés liées d'une part à l'interprétation de leurs notations canoniques, et d'autre part à la réalisation de leurs parties fuguées. Si les théoriciens contemporains du compositeur définissent en effet la fuga comme une imitation rigoureusement exacte entre la partie de dux et celle(s) de comes, force est de constater que toutes les fugae considérées dans cette thèse ne répondent pas à ce critère. Certaines ne permettent pas une imitation parfaitement exacte ; d'autres semblent permettre plusieurs réalisations distinctes, parfois radicalement différentes. Bien que des théoriciens plus tardifs – en particulier Zarlino – introduiront des termes permettant de penser ces autres types d'imitation, ceux-ci n'existent pas encore du vivant de Josquin. Les pratiques compositionnelles attestées au sein des œuvres étudiées divergent ainsi, à maints égards, de la théorie contemporaine. À travers une étude des sources musicales des fugae retenues, ainsi que d'un ensemble de sources théoriques imprimées avant 1530, nous tenterons de comprendre les raisons motivant ces écarts, mais également de saisir les enjeux de la réalisation sonore des fugae, à partir des notations canoniques préservées dans les sources. / This dissertation investigates the musical sources of a corpus of fugal works attributed to Josquin Desprez, in order to study the various issues arising from the interpretation of fugae. Within the large repertoire of fugae composed at the turn of the 16th century, those composed by Josquin stand out as exceptionally diverse and rich, technically and musically. What's more, they arise many difficult issues for the singers. Indeed, those fugae confront us with problems related to the interpretation of canonic notations, on the one hand, and with the realization of the fugal parts themselves, on the other hand. Whereas the contemporary theorists define fuga as a perfectly exact imitation between the dux and the comes parts, it is noticeable that every fuga studied in this dissertation do not meet this criterion. Some of them cannot be sung with an exact imitation; others seem to allow several possible realizations, sometimes radically different. Although later theorists – Zarlino, in particular – will introduce specific terms that refer to those other types of imitation, those terms do not exist during Josquin's lifetime. In multiple ways, compositional practices that can be observed within the works studied diverge from the musical theory of the time. A study of the musical sources of the fugae selected, and of an important corpus of contemporary theoretical sources will lead us to a better understanding of the reasons that motivated those divergences, and of the issues related to the realization of fugae from canonic notations preserved in the sources.

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This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.

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O presente trabalho investiga as seis peças religiosas de A Pilgrimes Solace (1612), último livro de ayres de John Dowland (1563-1626): In this trembling shadow, If that a sinners sighes, Thou mightie God, When Davids life by Saul, When the poor cripple e Where sinne sore wounding. Para isto, usamos uma abordagem intertextual a fim de situar esta coleção no cenário da Inglaterra dos sécs. XVI-XVII, comparando-a com outras coleções de ayres e canções polifônicas inglesas que misturam os gêneros religioso e secular. Buscamos entender quais foram os eventos que circundaram a publicação desta coleção; as possíveis conexões entre os textos dessas seis peças com o culto da salmodia neste país; as características musicais em comuns ou diferentes de outras peças da mesma época; as relações entre as canções desta coleção e seu título, assim como com o prefácio ao leitor e as relações de patronagem envolvidas nesta publicação. Diante desta perspectiva, a abordagem musicológica deste trabalho é aquela da nova musicologia, proposta por Vicent Duckles, Joseph Kerman e Jean Nattiez. Sugere-se, assim, uma perspectiva que leva em conta a inter-relação entre aspectos históricos, filosóficos, sociais e retórico-musicais. A conexão entre essas áreas foi utilizada para a análise da obra escolhida e contribuiu para situar esta coleção neste período, de modo que ela pudesse ser investigada através de materiais extramusicais: manuais de cortesania, tratados médicos, diários, livros de salmos, livros de teoria musical, entre outros. Em suma, através dessa abordagem descrevemos o cenário em que as coleções de ayres estavam inseridas, a relação entre música e devoção e a função da música nesta sociedade. Com isto, percebemos que A Pilgrimes Solace é uma mistura não só de gêneros, mas também de estilos musicais, de ambientes (canções relacionadas à privacidade ou a celebrações públicas) e de funções, já que essa coleção aborda tanto aspectos da música relacionada à função religiosa quanto à recreação do espírito. Em relação às peças religiosas, através da análise retórico-musical, foi possível perceber o lamento como elemento principal representado pela música, assim como os aspectos que se relacionam à jornada do eu-lírico nestas canções: dores, angústias, arrependimento verdadeiro, fé em Deus, paciência ao esperar o conforto divino e a remissão de seus pecados. Por fim, através das análises comparativas com obras de autores como William Byrd, Thomas Campion e John Milton, entre outros, inferimos que Dowland tende a usar lugares-comuns para representar este tipo de texto, convergindo com o estilo musical destes compositores. Contudo, ele infringe com mais frequência as regras do contraponto quando o poema exige, carrega suas peças com cromatismos e se preocupa em criar uma imagem musical mais contundente das situações que as personagens enfrentam. / This research intends to investigate the six religious songs of John Dowland\'s A Pilgrimes Solace, his last book of airs (1612): In this trembling shadow, If that a sinners sighes, Thou mighty God, When Davids life by Saul, When the poore cripple e Where sinne sore wounding. To this end, we approach this dissertation through an intertextual method in order to place this collection in the England scenario during 16th and 17th centuries, comparing it to other ayres collections and polyphonic English songs which mix religious and secular music genres. Therefore, we seek to understand which events surrounded the publication of this collection, the possible connections between the texts of these six songs and the psalm singing cult in this country, the musical characteristics in common or not with other contemporaneous works and the relation between the songs of this collection and its title and preface to the reader as well as the patronage\'s relations evolved in this publication. Regarding this perspective, the musicological approach is that from the new musicology proposed by Vicent Duckles, Joseph Kerman e Jean Nattiez, suggesting, thus, an interrelation among historical, philosophical, social, and musical-rhetoric aspects. Therefore, the connection between these areas were chosen for the analysis of this collection and contributed to place it in this period of time, investigating it through extramusical aspects: conducting books, medical treatise, diaries, book of psalms, books of contemporaneous musical theory, among others. To summarize, through this approach we described the scenario in which the ayres collections were inserted, the relation between music and devotion, and the function of music in that society. Having said that, we perceived that A Pilgrimes Solace is a mix not only of musical genre, but also of musical style, environment (songs related to privacy or public celebrations) and function, since this collection deals with religious function as well as recreational purposes. Regarding the religious songs, through the musical-rhetoric analysis, we could perceive the lament as the main element to be represented through music as well as the aspects related to the versifier\'s journey in these songs: sorrows, moans, true repentance, faith in God, patience to wait for his comfort and redemption of sins. Finally, through the comparative analysis with William Byrd, Thomas Campion e John Milton, we inferred that John Dowland tend to use common places to represent this type of text, converging with the musical style of those composers; however, Dowland frequently brakes the counterpoint rules when the poem demands, fills his pieces with cromatism and creates an image of the situation in which the characters are facing.