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Thematische Bibliographien / Music theory History 17th century / Dissertationen

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Dissertationen zum Thema „Music theory History 17th century“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

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1

Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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2

Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary". Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.

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The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these ch

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3

Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper con

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4

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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5

Meredith, Victoria Rose. "The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.

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The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroqu

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6

Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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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 develo

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7

Botelho, Lynn Ann. "English housewives in theory and practice, 1500-1640." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.

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Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.

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8

Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.

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9

Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including

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10

Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

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11

Ballantyne, Abigail L. "Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.

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Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary the

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12

Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.

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This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction

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13

Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It

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14

Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than

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15

Chung, Kyung-Young. "Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.

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Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in o

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16

Murphy, Liesel. "A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1023.

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This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designatio

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17

Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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18

Condie, Keith Graham. "The theory, practice, and reception of meditation in the thought of Richard Baxter." Phd thesis, Faculty of Arts, 2010. http://hdl.handle.net/2123/14708.

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19

Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and tr

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20

Dobbs, Benjamin M. "A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804836/.

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Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and

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21

Sowle, Jennifer. "The castrato sacrifice was it justified /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/August2006/Open/sowle_jennifer_ruth/index.htm.

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22

Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.

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This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.<br>The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier

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23

McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.

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Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatis

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Echevarria, Rafael Daniel De Leon. "A Tri-partite Dialogic Form: On Temporality, Listening, and History in the New Formenlehre." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/28195.

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Despite being a foundational principle for James Hepokoski and Warren Darcy’s Sonata Theory, the concept of ‘dialogic form’ requires further exploration. This principle sees form as emerging from a dialogue between a work and historical expectations, as one considers how the former conforms to or ‘deforms’ the latter. However, questions remain about how this dialogic process is experienced by a listener throughout a work. This temporal experience of form has been interrogated by Janet Schmalfeldt, who combines dialogic form with William Caplin’s form-functional approach. Additionally, dialogic

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25

Nelson, Bernadette. "The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century." Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:b736ca8f-0bb7-47a4-9ac4-2102b6cc3acb.

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Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the

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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.

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Keuchguerian, Anait. "Haydn's early symphonic development sections and eighteenth-century theories of modulation." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.

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The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established

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28

Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.

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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the

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Chan, Tzu-Ying. "John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.

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English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford

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Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

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31

Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.

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32

Breidenbach, Michael David. "Conciliarism and American religious liberty, 1632-1835." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648152.

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33

Iler, Devin. "Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822783/.

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The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translatio

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Cichy, Andrew Stefan. "'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.

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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions

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35

Hora, Edmundo Pacheco 1953. "As obras de Froeberger no contexto da afinação mesotonica." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284787.

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Orientador: Helena Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-04T16:44:26Z (GMT). No. of bitstreams: 1 Hora_EdmundoPacheco_D.pdf: 7784572 bytes, checksum: 6dea0baba38779974864d2974087d576 (MD5) Previous issue date: 2004<br>Resumo: Com o objetivo de verificar a adequação do sistema de afinação utilizado no século XVII, com a produção musical de Johann Jacob Froberger (1616-1667), elaboramos um sistema de análise de todo o material publicado, visando identificar as eventuais discrepâncias entre eles. Assim, tanto a De

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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.

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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapt

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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for

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Woodruff, Lawrence Theodore. "The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.

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While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphras

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Smith, Jacob H. "Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.

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Read, Nicole Elizabeth. "The Adolescence of France: Teaching for Historical Empathy." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1241050971.

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41

Volcansek, Frederick Wallace. "The Essercizii musici, a study of the late baroque sonata." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.

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42

Farris, Daniel. "Intertextualization: An historical and contextual study of the battle villancico, El más augusto campeón." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12122/.

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This document addresses the cultural and significance of the battle villancico, El más augusto campeón, and its historical, social, and musical contexts within the villancico genre of the Latin American Baroque. This study focuses on the villancico, El más augusto campeón, and explores the possible origins of the text and its relevance to the political and social structure of Cuzco's San Antonio Abad Seminary. Other areas of investigation are the musical analysis of the score and performance practice issues that surface when making choices as a conductor. Considering the seminal position vi

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Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.

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Orientador: John Manuel Monteiro<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-18T12:48:13Z (GMT). No. of bitstreams: 1 Wittmann_LuisaTombini_D.pdf: 9280509 bytes, checksum: 982a99d42f6dd98f9d11fbf5d1a2848b (MD5) Previous issue date: 2011<br>Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as r

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Javadova, Jamila. "Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6092/.

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This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided i

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Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.

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La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture

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Forment, Lise. "L’invention du post-classicisme de Barthes à Racine. L’idée de littérature dans les querelles entre Anciens et Modernes." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA163.

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Cette thèse remet en question le soupçon pesant sur les catégories de « classique » et « classicisme ». Centrales dans les manuels, ces notions sont pourtant renvoyées par les spécialistes à de purs anachronismes, et jugées impertinentes pour caractériser le XVIIe siècle et sa littérature. Marqués par la rhétorique et la sociologie historique, les travaux actuels écartent l’opposition idéologique entre classicisme et modernité. Mais l’analyse de l’antagonisme chez Barthes, et l’étude des querelles impliquant les Classiques de 1898 à 1966, permettent de donner un contenu inattendu au classicism

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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England / Graham Strahle." Thesis, 1987. http://hdl.handle.net/2440/21577.

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ESPINOSA, Miguel Palou. "Alfonso Fontanelli (1557-1622), noble y compositor : un estudio socio-cultural sobre la nobleza y la práctica musical en el tardo-renacimiento italiano." Doctoral thesis, 2016. http://hdl.handle.net/1814/40844.

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Defence date: 18 April 2016<br>Examining Board: Profesor Luca Molà, European University Institute, Florence; Profesor Stéphane Van Damme, European University Institute, Florence; Profesor Tim Carter, University of North Carolina at Chapel Hill; Profesor Carmen Sanz Ayán, Universidad Complutense de Madrid.<br>Many scholars have shown the importance of musical education for noblemen in late Renaissance Italy. For both individuals and groups, music could be used as a tool for process of self-identity, helping them to construct their aesthetical forma del vivere. In fact, along with a sum of liter

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"Musical Diversions at the Court of Louis XIV." Thesis, 1998. http://hdl.handle.net/1911/20472.

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During the carnival season of 1700, as some of the entertainments at the court of Louis XIV, there were presented seven mascarades at Marly, a châiteau near Versailles. The mascarade was a small-scale musical production that combined music and dance and was influenced by the ballet de cour and later the tragidie-lyrique. They were composed by André, Anne, and Pierre Philidor who were members of a family dynasty of wind players connected to the French court for several generations. Sources including the music, libretti, descriptive journal and diary entries, costume drawings, and related resear

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