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A methodology for the analysis of melodic accent in Renaissance sacred polyphonyEthier, Glen Edward 05 1900 (has links)
Modern scholars have suggested various approaches to the
analysis of the pretonal repertory. However, if we consider
the question of how the individual voice parts interact in a
Renaissance polyphonic composition to create coherence for the
movement as a whole, we find that there are no tools available
to undertake such a task. We may be able to speak generally
of the arrival of certain moments as relatively accented or
unaccented; we may even be able to dissect a complete melodic
line with some segmentation process to highlight motivic
structure, phrase development or contour-articulated pitch
events. But there are no analytic strategies available yet
which are capable of disclosing the structures of independent
voice parts and their interaction as timepoint-accenting
elements capable of creating formal, rhythmic and pitch-class
patterns. This study outlines a methodology that has been
developed to deal with these specific issues.
The analytic strategy is based on the perception of
accents in individual voices of polyphonic works. The types
of accents germane to Renaissance polyphony include
durational, leap, contour, cadential and beginning-accents.
The study proposes a simple, bipartite classification of
accentual strength—strong or weak. Each voice part in a work
is then analyzed, with every pitch attack represented as
strongly or weakly accented through special notation developed
for the analysis.
The methodology affords a picture of the most strongly-
accented timepoints in the individual melodies of three- and
four-voice cantus firmus masses of the mid- to late fifteenth
century. The relative strengths of these accents, along with
their synchronization in the multi-voice aggregate, are
disclosed through the notation. After renotating scores with
this special notational symbology, we extract points of
coincident strong accents in three or more voices to create
accent profiles for each section of a movement. We then
compare profiles of same-texted works by different composers
in order to disclose normative formal and pitch-class
procedures in some Renaissance compositions. / Arts, Faculty of / Music, School of / Graduate
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The Huguenot psalter in the low countries : a study of its monophonic and polyphonic manifestations in the sixteenth century /Slenk, Howard January 1965 (has links)
No description available.
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Simone Verovio, 16th century composer and engraver : Diletto spirituale.Kimmel, Lessy. January 1973 (has links)
No description available.
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The sīra of the prophet Muḥammad in the repertoire of the contemporary Egyptian MaddāḥinAbdel-Malek, Kamal January 1992 (has links)
No description available.
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Churching the shawms in Renaissance Spain Lerma, archivo de San Pedro ms. mus. 1 /Kirk, Douglas Karl. January 1900 (has links)
Thesis (Ph.D.). / Written for the Faculty of Music. Vol. 2 is an edition of the Lerma ms. Bibliography: v.1, leaves 257-272.
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The implementation of sixteenth-century liturgical music through authentic "performance practice" in evangelical worship at Point Loma Nazarene UniversityJackson, Daniel S. January 2005 (has links)
Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 141-144).
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Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /Jeffreys, Catherine Mary. January 2000 (has links)
Thesis (Ph.D.)--Faculty of Music, University of Melbourne, 2000. / Typescript. Includes bibliographical references (p. 257-280).
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Medieval Russian chant and the contemporary churchEaly, Gregory. January 2007 (has links)
Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).
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Formation of pastoral musicians in Lithuania pastoral project : intensive one week summer course /Palionis, Solveiga, January 2006 (has links)
Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 57-60).
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Composing the sacred in Soviet and post-Soviet Russia : history and Christianity in Alfred Schnittke's Concerto for Choir /Turgeon, Melanie Edwardine, Grigor, January 1900 (has links)
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2239. Adviser: Donna Buchanan. Includes Grigory Gerenstein's English translation. Includes bibliographical references (leaves 217-231) Available on microfilm from Pro Quest Information and Learning.
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