Relevant bibliographies by topics / Cantatas sacras

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cantatas sacras'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Cantatas sacras"

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Ballús Casóliva, Glòria. "Música i músics del Barroc català. El mestre de capella de la Seu de Manresa, Josep Masvasí (1731-1762)." Anuario Musical, no. 61 (December 31, 2006): 167. http://dx.doi.org/10.3989/anuariomusical.2006.61.8.

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El músic català Josep Masvasí fou mestre de capella de la Seu de Manresa (1731-1762). Malgrat aquesta llarga estada de 31 anys, tenim poques notícies de la seva producció musical, doncs només es conserva un Responsori per les Matines de Nadal (1733) i la informació de varis oratoris sacres que foren cantats a Manresa per la capella de música de la Seu. Una anàlisi d’aquest nocturn Verbum caro factum est ens mostra les tècniques compositives que utilitzava, oferint així un exemple d’aquest període del barroc musical català.
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2

DelDonna, Anthony R. "Tradition, Innovation, and Experimentation: The Dramatic Stage and New Modes of Performance in Late Eighteenth-Century Naples." Quaderni d'italianistica 36, no. 1 (2016): 139–72. http://dx.doi.org/10.33137/q.i..v36i1.26277.

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Naples in the last thirty years of the eighteenth-century was characterized by a fervent climate of theatrical experimentation. Although too often viewed as the last stronghold of Metastasian dramatic principles and traditions, the city was deeply influenced by the “reform culture” of Northern Europe. These exterior influences were bolstered by the contributions of local practitioners, whether composers, performers, and theorists. This essay is a brief consideration of how the ideas of “reform culture” affected contemporary Neapolitan theatrical practices and the emergence of new works in the
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Guimarães, Marco Antonio. "Carioca não gosta de sinal fechado." Fisioterapia Brasil 14, no. 2 (2016). http://dx.doi.org/10.33233/fb.v14i2.373.

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Há poucos dias encontrei no Jardim Botânico, bairro da zona sul do Rio de Janeiro,um amigo que não via há quase quinze anos. Seus negócios, primeiro na Europa e depois nos Estados Unidos, provocaram um verdadeiro desarranjo nos nossos eventuais encontros aqui no Rio e jogaram para o ar os bate-papos que tínhamos.Embora ambos estivéssemos com pressa, paramos para nos cumprimentar e marcar um novo dia para conversarmos com mais calma. Pelo menos era essa a nossa intenção. Estávamos na rua Jardim Botânico, principal artéria daquele bairro, que escoa a maioria dos ônibus e automóveis que vêm e vão
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Dissertations / Theses on the topic "Cantatas sacras"

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Justi, Katia Regina Kato. "O Oboe e a representação da Confiança nas arias das cantatas sacras de J.S. Bach." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284316.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007<br>Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundam
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Holler, Marcos Tadeu. "A interpretação de recitativos em cantatas sacras de G. P. Telemann sob uma perspetiva historica." [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284173.

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Orientadores: Helena Jank, Dorotea Kerr<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-07-20T21:04:39Z (GMT). No. of bitstreams: 1 Holler_MarcosTadeu_M.pdf: 4958477 bytes, checksum: 3076180d8d6ccb6a32b8b2633c3ac9c3 (MD5) Previous issue date: 1995<br>Resumo: Não informado<br>Abstract: Not informed.<br>Mestrado<br>Mestre em Artes
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Reul, Barbara Margaretha. "The sacred cantatas of Johann Friedrich Fasch (1688-1758) /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32766.pdf.

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Roberson, Kevin D. (Kevin Douglas). "The Seven Last Words of Christ: A Sacred Cantata." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc935618/.

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The Seven Last Words of Christ is a sacred cantata for SATB chorus with soloists accompanied by a woodwind quintet, brass quintet and three percussionists. The text employed in this work is based on the Gospel accounts of the crucifixion of Jesus Christ in the King James Version of the of the Holy Bible. The cantata consists of seven movements with an instrumental introduction and postlude, and has a duration of approximately twenty-seven minutes. The majority of the movements are slow in tempo, reflecting the somber mood of the text. The major goal of this work is to musically represent the d
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Montaigu, Ginette. "La Vision du Christ, l'Un de la Trinité, et du Dieu trinitaire chez Jean-Sébastien Bach." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0324.

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Une première partie, après l’introduction, est consacrée aux deux passions de Jean-Sébastien Bach, la musique et la théologie-à l’héritage européen du compositeur, tant au point de vue musical que théologique. La seconde partie s’attache à l’analyse d’œuvres de Bach. La cantate Christ lag in Todesbanden a une place essentielle dans la liturgie protestante. Le compositeur reprend les versets du cantique du même nom écrit par Luther. L’attachement du Réformateur est viscéral pour le mystère de la Rédemption et son instrument, la Croix. Jean-Sébastien Bach éprouve la même adoration pour le Christ
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Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.

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Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions oppos
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Forbes, Anne-Marie H., and Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.

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Title from accompanying document.<br>A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.<br>Digitized by Kansas Correctional Industries
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Frozoni, Giuliana. "Vamos todos para a Lapa visitar o Bom Jesus : o itinerário da romaria a partir dos benditos cantados pelos romeiros do Bom Jesus da Lapa BA." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/1857.

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Made available in DSpace on 2016-04-25T19:20:21Z (GMT). No. of bitstreams: 1 Giuliana Frozoni.pdf: 15568010 bytes, checksum: 4266c95b0cb6931acaedd5d5b9d66d49 (MD5) Previous issue date: 2012-06-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The object of this work are the benditos sung by the pilgrims during the pilgrimage to the Sanctuary of Bom Jesus da Lapa BA, studied and analyzed through a ritual perspective. These popular songs of oral tradition sung in novenas, rosaries and religious processions are one of the earliest manifestations of popular Catholicism that
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Vieira, Ger?nimo Brito. ""Cantata para louvor e gl?ria", de Cleide Dorta Benjamim: preparo para a execu??o." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20082.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T23:20:12Z (GMT) No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5)<br>Made available in DSpace on 2016-03-18T23:20:12Z (GMT). No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd5021
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Bauman-Szulakowska, Jolanta. "Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa koscielnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S. [Rezension]: Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa koscielnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S. [Rezension]." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 179-181, 1999. https://ul.qucosa.de/id/qucosa%3A15650.

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Books on the topic "Cantatas sacras"

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1950-, Unger Melvin P., ed. Handbook to Bach's sacred cantata texts: An interlinear translation with reference guide to Biblical quotations and allusions. Scarecrow Press, 1996.

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Schelle, Johann. Six chorale cantatas. A-R Editions, 1988.

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Chafe, Eric Thomas. Analyzing Bach cantatas. Oxford University Press, 2000.

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Hekkers, William. Bach, les Cantates. Editions RTBF, 1986.

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Felix Mendelssohn Bartholdys Choralkantaten, Gestalt und Idee: Versuch einer historisch-kritischen Interpretation. P. Lang, 1996.

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Nieden, Hans-Jörg. Die frühen Kantaten von Johann Sebastian Bach: Analyse, Rezeption. Katzbichler, 2005.

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Rempp, Frieder. Kantaten zum Reformationsfest und zur Orgelweihe: Kritischer Bericht. Bärenreiter, 1988.

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Emans, Reinmar. Kantaten zum Sonntag Jubilate: Kritischer Bericht. Bärenreiter, 1989.

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Emans, Reinmar. Kantaten zu den Sonntagen Quasimodogeniti und Misericordias Domini: Kritischer Bericht. Barenreiter, 1989.

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Marshall, Robert Lewis. Kantaten zum 9. und 10. Sonntag nach Trinitatis: Kritischer Bericht. Bärenreiter, 1989.

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Book chapters on the topic "Cantatas sacras"

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Bertouch, Georg von. "Three Sacred Cantatas." In Recent Researches in the Music of the Baroque Era, 151. A-R Editions, 2008. http://dx.doi.org/10.31022/b151.

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Eberlin, Daniel. "Four Sacred Cantatas." In Recent Researches in the Music of the Baroque Era, 184. A-R Editions, 2013. http://dx.doi.org/10.31022/b184.

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Stinson, Russell. "Edward Elgar Reads Albert Schweitzer." In Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0005.

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This chapter examines Edward Elgar’s thoughts on Bach’s vocal works according to the many inscriptions made by him in his copy of Albert Schweitzer’s book, J. S. Bach. Elgar took a harsh view of Bach’s treatment of the human voice, and he derided Schweitzer as an author. Of particular interest are Elgar’s remarks about Bach’s sacred and secular cantatas.
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"The Legacy of Anti-Judaism in Bach’s Sacred Cantatas." In Jews and Protestants. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110664713-006.

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Bradley, Ian. "1877‒1889." In Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0006.

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The period from 1877 to 1889 was dominated for Sullivan by his collaboration with W.S. Gilbert, with whom he wrote ten highly successful comic operas on an almost annual basis. He found the partnership increasingly frustrating, if highly lucrative. Away from the theatre, he wrote a dramatic cantata about an early Christian martyr, The Martyr of Antioch (1880), and a sacred cantata, The Golden Legend (1886), based on the poem by Henry Longfellow, which was performed more than any other choral work apart from The Messiah in the closing decade of the nineteenth century. In 1880, Sullivan took up the conductorship of the prestigious Leeds Festival which gave him a chance to conduct significant sacred works, including the first ever complete performance in Britain of Bach’s B Minor Mass over which he took considerable pains. An address on music which he gave in Birmingham in 1888 touches on his own faith and reveals his Biblical knowledge and deep attachment to church music. His own contributions to the Savoy operas on which he collaborated with Gilbert also reveal much about his spirituality.
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Rice, Albert R. "Music for the Baroque Clarinet." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0005.

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This chapter presents an overview of music written by 23 composers representative of a larger repertoire written about 1715 to 1760 for the Baroque clarinet. The works examined include opera, cantata, duos, concertos, wedding music, chamber music, military music, sacred arias, requiem, and motets by Dreux, Vivaldi, Caldara, Faber, Telemann, Handel, Chinzer, Rathgeber, Münster, Glaser, Kölbel, Molter, Sparry, Rameau, Zach, Stark, Johann Stamitz, Graupner, d’Herbain, Pasterwiz, La Borde, Ulbrecht, and Arne. The music is written in a trumpet style characterized by repeated notes, incomplete arpeggios, fanfare motives, limited range, and restricted use of the low register. In works composed after about 1730, a lyrical style of melodic writing takes on a greater importance with scale passages, leaps of an octave or more, and more frequent use of the low register.
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