Thesis (D.W.S.)--Institute for Worship Studies, 2005. / Abstract. Includes bibliographical references (leaves 141-144).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 57-60).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2007. / Abstract. Includes bibliographical references (leaves 74-76).

In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2716. Adviser: Fred Stoltzfus. Includes bibliographical references (leaf 170) Available on microfilm from Pro Quest Information and Learning.

by Jerry M. Cain / Typescript / Includes complete vocal and instrumental scores of 2 liturgical motets and 3 sacred concertos of the early 17th century transcribed into modern notation / For mixed voices and/or instruments / M.M. Florida State University 1994 / Compositions LE45-48, 143 in Levoča Ms. Mus. 13993; ms. of German composers, copied in organ tablature by Johannes Schimbraczky / Includes bibliographical references / Score texts in German and Latin; 2 scores are without text

Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.

A central focus of this thesis is the word-music relationship in the devotional-song-repertory of Hildegard of Bingen (1098-1179). Surrounding this focus is an examination of aspects of her life and work that relate to the production of her seventy-seven monophonic songs. This examination commences with a review of biographical sources, collation and discussion of parchment sources of her music, and identification of her music scribes. The theme of Hildegard’s music scribes is then developed, including their influence upon the liturgical genres in which her songs are cast and the melodic behaviour of her music. It is argued that, as a result of the rendering of her melodies on the medieval gamut, the surviving sources of her songs represent corruptions of orally produced chant. / The word-music relationship in Hildegard’s songs is then introduced. Her views on the role of music and her own role as monastic preacher form the basis of an examination of the relationship between rhetoric and her songs. This examination draws on contemporary modes of rhetorical criticism, and an approach which treats her songs as musically articulated rhetorical discourse is developed. A selection of her songs is then examined through this approach, and particular attention is given to songs which preserve unusual melodic behaviours. It is argued that her songs represent iubilatio responses to both the grammatical and rhetorical syntagms of her song texts, and melodic characteristics which suggest traces of her pre-redacted melodies are identified. / As a codicil to this study, a critique of ‘new’ and ‘unusual’ monastic practices in Germany by Anselm of Havelberg (c.1100-1158) forms a point of departure for discussion of a small number of surviving songs which surrounded the production of Hildegard’s music - the five monophonic songs comprising the Epithalamia to the Speculum virginum (c.1140), and a twelfth-century canticle setting emanating from the monastic home of her music scribes. This examination points towards a tradition of ‘new’ and ‘unusual’ musical practices in Southern Germany during the twelfth century and provides one possible context for Hildegard’s devotional-song repertory.

Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.

Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of San Pedro in Lerma. By comparing the repertory in the manuscript with sixteenth- and seventeenth-century instructions to minstrels in Le6n and Palencia, it has been possible to establish typical ecclesiastical performance responsibilities of minstrels and deduce how such a collection of instrumental music would have been used. Furthermore, after study of the surviving inventories of San Pedro, it has been possible to reconstruct the entire polyphonic musical repertory of the church. This enables us to see the sort of musical library available to the typical succentor or chapelmaster of the time, and the place that minstrel repertory occupied. Finally, a significant number of the original Lerma manuscripts and prints have been traced into modern collections, allowing us to know much more about their origins and history than heretofore. / Plusieurs etudes ont demontre qu'au seizieme et au dix-septieme siecle, les eglises espagnoles (metropolitaines et monacales) employaient des ensembles de musiciens utilisant des instruments "hauts" pour jouer dans de nombreuses liturgies et processions tout au long de l'annee. Ce que cette musique etait precisement, au-dela de la participation dans l'accompagnement des choeurs des messes et motets, ne reste que conjectures puisqu' au aucune note n'a ete trouvee. Cette dissertation est une etude et une edition d'un manusmt d'une importance majeure et nouvellement decouvert, identifie comme ayant fait partie du repertoire des menestrels servant le duc de Lerma, c. 1607, qui etaient engages pour jouer a l' eglise collegiale de San Pedro a Lerma. En comparant le repertoire dans le manuscrit avec les instructions des menestrels du seizieme et du dix-septieme siecle a Le6n et Palencia, il a ete possible d' etablir les responsabilites musicales liturgique des menestrels et de deduire comment toute cette collection de musique instrumentale avait pu ~e utilisee. De plus, apres l' etude des inventaires subsistants de San Pedro, on a pu reconstruire le repertoire musical polyphonique dans son entier. Ceci nous permet de voir la collection musicale disponible du chantre ou maitre de chapelle typique du temps, ainsi que la place qu' occupait le repertoire des menestrels. Finalement un nombre significatif de manuscrits et imprimes a ete retrace dans les collections modemes, nous permettant d' en connaitre. fr