Res extra commercium The purpose of this thesis is to analyse one category of things - things outside commerce (res extra commercium) in Roman Law, especially one of the main classes of these things, things in divine ownership (res divini iuris). The thesis consists of four chapters, which are further subdivided into parts. First chapter describes basic methods of dividing things in the system of the Roman Law, thus defining the topic of this thesis. Second chapter, which constitutes the main and the longest part of the thesis, deals with religious things (res religiosae). After the first subchapter, which contains basic demarcation of res religiosae, follows the second subchapter, which focuses on legal status of these things. Within its framework are also addressed some issues and concepts common to all three categories of the things in divine ownership. Third subchapter contains the analysis of the legal relations of the persons concerned with religious things. In the fourth subchapter is explanation of the actio funeraria, which was used for the settlement of expenses among persons who arranged a funeral, and persons, who had the obligation to cover the costs of that funeral. Finally, the fifth subchapter concentrates on the protection of res religiosae and protection related to them - on the protection...

v.1. Text (246 leaves) -- v.2. Figures and musical examples (145 leaves) / William Byrd's motets with Latin text are a little-known contribution to the sacred vocal repertoire. Most important among these works are three books of Cantiones Sacrae, published 1575, 1589 and 1591, respectively. The 1589 Cantiones Sacrae was Byrd's first harvest from a backlog of motets that had been accumulating since 1575. This collection lies at a midpoint between Byrd's earliest published works and his full maturity, as seen in the Masses of 1592--95. / This study will describe the contrapuntal strategies that characterize Byrd's 1589 Cantiones. I will examine Byrd's deeper-level tonal organization and its derivation from cantus firmus technique. I will show how Byrd uses musical material in cantus firmus values (the breve and semibreve) to shape his subject material and his cadence points, and how this shaping plays out over the course of an imitative point. / I will then examine Byrd's introductory gestures in the 1589 Cantiones, identifying 24 presentation types that characterize different degrees of beginning. These types contain one or more melodic subjects in a recurring temporal relationship, and form a vertical interval pattern or harmonic motive. Next, I will discuss Byrd's variation techniques by which he develops these presentation types: textural change, transposition, melodic inversion and invertible counterpoint. Byrd's presentation and variation of subject material divides an imitative point into distinct phases of tonal and contrapuntal activity, providing insight into its overall form and tonal design. / Finally, I will apply these analytical tools to a complete analysis of Tristitia et anxietas, from the 1589 Cantiones, thereby showing how Byrd establishes central pitches in the middleground. Through this analysis, I will summarize Byrd's contrapuntal strategies, both long-range and local, that typify his middle-period sacred vocal style, as viewed through the lens of the 1589 Cantiones Sacrae.

v.1. Text (246 leaves) -- v.2. Figures and musical examples (145 leaves)

The purpose of the master thesis Thomas of Ireland: De tribus sensibus sacrae scripturae - editio princeps, commentary and translation is to study the treatise De tribus sensibus sacrae scipturae. This hitherto unpublished text is part of a trilogy which also includes the treatises De tribus punctis christianae religionis and De tribus hierarchiis all written by Thomas of Ireland, an author active at the University of Paris around 1300. The latter is known chiefly for his collection of authorities called Manipulus florum, which was one of the biggest bestsellers of the time. The De tribus sensibus sacrae scripturae contains a theoretical section which briefly exposes the principles and rules of the literal and mystical exegesis of the Bible. But most of the treatise consists of an exemplary exegesis of verse Wisdom 9, 1 with long excursuses on subjects such as astronomy or translatio studii. The present work includes the critical edition of the treatise from the five known manuscripts with the ms. Paris, Bibliothèque nationale de France, Latin 16397 as the base manuscript. The edition of the text is accompanied by a study of the manuscript tradition and a description of the manuscripts which the author has been able to access. In addition, the text is set in the context of the works of Thomas of...

By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas." With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."