Relevant bibliographies by topics / Contrafacts

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Contrafacts'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Contrafacts"

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Hascher-Burger, Ulrike. "Music and Meditation: Songs in Johannes Mauburnus's Rosetum exercitiorum spiritualium." Church History and Religious Culture 88, no. 3 (2008): 347–69. http://dx.doi.org/10.1163/187124108x426538.

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AbstractThe Rosetum exercitiorum spiritualium et sacrarum meditationum of Johannes Mauburnus is considered the most extensive and influential treatise on meditation in the circles of the late Devotio Moderna. It was printed in five editions from the late fifteenth to the early seventeenth century. Besides instructions for numerous meditations of varying length, this treatise contains seven religious songs which were intended to stir up the emotions and facilitate the correct disposition for meditation. These songs were created as contrafacts, meaning that the newly composed texts were sung to
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Davies, Drew Edward. "Arranging music for the liturgy: contrafacts and opera sources from New Spain." Early Music 47, no. 2 (2019): 147–60. http://dx.doi.org/10.1093/em/caz020.

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Quinlan, Meghan. "Can melodies be signs? Contrafacture and representation in two trouvère songs." Early Music 48, no. 1 (2020): 13–27. http://dx.doi.org/10.1093/em/caz094.

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Abstract The trouvère repertory contains over a hundred groups of contrafacta with a variety of parodic, satirical and devotional functions. This article discusses how certain cases of contrafacture can reshape the ways in which we imagine text–music relations. Through two cases—a serventois protesting the policies of King Louis IX of France, modelled on a song by Blondel de Nesle, and a contrafact of a song by the Chastelain de Coucy that comments on its own contrafaction—I argue not only for a medieval interest in melody’s representative potential, but also that this kind of representation w
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Milsom, John. "Caustun's Contrafacta." Journal of the Royal Musical Association 132, no. 1 (2007): 1–31. http://dx.doi.org/10.1093/jrma/fkl015.

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The received view of the Tudor composer Thomas Caustun is of a minor and relatively uninteresting figure. That view is adjusted, however, by the discovery among his works of contrafacta of music by Nicolas Gombert, Philippe van Wilder, Rogier Pathie and Sebastiano Festa. This article considers the reasons why Caustun made these adaptations, and why they they were published under his name, rather than those of their true composers, in John Day's anthology of Protestant church music, Mornyng and Evenyng Prayer and Communion (London, 1565).
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HARTMAN, CHARLES O. "CONTRAFACTUM." Yale Review 95, no. 4 (2007): 21–38. http://dx.doi.org/10.1111/j.1467-9736.2007.00330.x.

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Παπαδόπουλος, Ιορδάνης. "Contrafactio." Επιστήμη και Κοινωνία: Επιθεώρηση Πολιτικής και Ηθικής Θεωρίας 20 (August 10, 2015): 263. http://dx.doi.org/10.12681/sas.528.

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PUTS, F. "Een geestelijk contrafact." Spiegel der Letteren 34, no. 2 (1992): 159–68. http://dx.doi.org/10.2143/sdl.34.2.2005599.

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Pujol i Coll, Josep. "Ressonàncies musicals en l’obra de Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (2018): 170. http://dx.doi.org/10.7203/scripta.11.12591.

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Resum: En referència a la poesia de Francesc Fontanella, l’article assenyala primerament la presència del compositor Joan Cererols com a poeta en català al seu Vexamen, una dada que ha passat inadvertida en els cercles musicològics. Seguidament fa un recompte de les poesies de Fontanella amb vincles musicals, sobretot amb els vilancets. Per últim, recupera algunes melodies que, com a contrafacta, encaixen amb les seves lletres per a cantar.
 Paraules clau: Francesc Fontanella, segle XVII, música, cançoners, contrafacta.
 
 Abstract: Referring to the Francesc Fontanella’s poetry,
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Leaver, R. A. "Richard Freedman, Lassus contrafacta." Early Music XXX, no. 1 (2002): 128–29. http://dx.doi.org/10.1093/em/xxx.1.128.

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Rose, Stephen. "PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600." Early Music History 35 (September 28, 2016): 203–60. http://dx.doi.org/10.1017/s0261127916000048.

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In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artif
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Dissertations / Theses on the topic "Contrafacts"

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Quinlan, Meghan. "Contextualising the contrafacta of trouvere song." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:de48756e-ed5a-4ffd-8ce2-c44dcc31ab74.

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Scholarship on medieval contrafacture has long been engaged in the Kontrafakturjagd, the hunt for songs whose textual and structural similarities suggest they might also share melodies. By making melodies freely exchangeable, this practice has tended to treat the music of medieval song as if it were an empty vessel, overlooking the ways in which contrafacta might construct musical meaning to serve various political, devotional, or aesthetic ends. Rather than making a case for contrafacture among songs whose shared melodies are questionable, this dissertation provides a context rich perspective
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Hoffmann, Rachel [UNESP]. "Faces e contrafaces da identidade portuguesa em Cardoso Pires." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103700.

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-28Bitstream added on 2014-06-13T20:04:22Z : No. of bitstreams: 1 hoffmann_r_dr_sjrp.pdf: 691200 bytes, checksum: dd7f5bcd2eb70028eb71a9572e705e45 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memora
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Hoffmann, Rachel. "Faces e contrafaces da identidade portuguesa em Cardoso Pires /." São José do Rio Preto : [s.n.], 2012. http://hdl.handle.net/11449/103700.

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Orientador: Sônia Helena de Oliveira Raymundo Piteri<br>Banca: Orlando Nunes de Amorim<br>Banca: Sérgio Vicente Motta<br>Banca: Márcia Valéria Zambonni Gobbi<br>Banca: Maria Lúcia Wiltshire de Oliveira<br>Resumo: A heterogeneidade da obra de José Cardoso Pires, associada à mobilização de determinadas formas narrativas observada em sua obra, levou-nos a seleção de um corpus propositadamente diversificado: um falso guia turístico, Lisboa, livro de bordo: vozes, olhares, memorações (1997); uma "história infantil" às avessas, "Por cima de toda a folha" (1979); uma fábula subvertida, Dinossauro Exc
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Levenstein, Anna Shaari. "Songs for the First Hebrew Play Tsahut bedihuta dekidushin by Leone de’ Sommi (1527-1592)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=case1138299788.

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Wong, Melia. "“The air seems to infatuate the ear”: Confederate Anthems, Union Battle Cries, and their Respective Contrafacta." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2128.

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During the Civil War, musical fluidity led to an outpouring of songs written about the conflict. With every popular song came at least one set of alternate lyrics known as contrafacta. In this thesis, I analyze Northern anthem “The Battle Cry of Freedom,”and Southern anthems “The Bonnie Blue Flag” and “Dixie” and their contrafacta. Through the lens of contrafacta, I analyze how the North and the South understood the terms “liberty” and “freedom.”
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Mouchet-Chaumard, Florence. "Portée et fonction du "contrafactum" dans la lyrique occitane médiévale : l'exemple du "sirventes"." Bordeaux 3, 2001. http://www.theses.fr/2001BOR30044.

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La notion de nouveauté est centrale lorsque l'on parle de musique monodique médiévale : nombreux sont en effet les genres, dans le corpus sacré, à être fondés non sur un renouvellement musical permanent, mais sur un réemploi d'une méthode antérieure ou contemporaine, cette adaptation étant rendue possible par un "compas" identique. Ce procédé , nommé contrafactum, n'est cependant pas limité au seul domaine liturgique, mais se retrouve également dans la monodie profane des XIIe et XIIIe siècles, de manière particulièrement visible chez les trouvères, où il fut d'ailleurs bien étudié. Le cas des
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Troyer, Scott R. "Layers of Meaning: Intertextuality in Early Anabaptist Song." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254121.

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Lewon, Marc. "Transformational practices in fifteenth-century German music." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:2a11c52f-52e5-4702-bab6-574d86f1f8bc.

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In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces
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Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk." Thesis, 2000. http://hdl.handle.net/10500/18047.

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Text in Afrikaans<br>Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die
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Books on the topic "Contrafacts"

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Cole, Norma. Contrafact. Potes & Poets Press, 1996.

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Church, Catholic, ed. Conductus and contrafacta. Institute of Mediaeval Music, 2001.

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Contrafacta: Allusioni, modelli, riscritture da San Girolamo a Pietro Aretino. Edizioni dell'Orso, 2011.

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Gianfelice, Peron, and Andreose Alvise, eds. Contrafactum: Copia, imitazione, falso : atti del XXXII Convegno interuniversitario, Bressanone-Brixen, 8-11 luglio 2004. Esedra, 2008.

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French baroque music of New Orleans: Spiritual songs from the Ursuline convent (1736) = Musique francaise baroque a la Nouvelle-Orleans : recueil d'airs spirituels des ursulines (1736). The Historic New Orleans Collection, 2014.

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Contrafacta. La isla de Siltolá, 2015.

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Vecchi, Orazio. The Four-Voice Canzonettas with Original Texts and Contrafacta by Valentin Haussmann and Others, Part 2. Edited by Ruth I. DeFord. A-R Editions, 1993. http://dx.doi.org/10.31022/r093.

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Vecchi, Orazio. The Four-Voice Canzonettas with Original Texts and Contrafacta by Valentin Haussmann and Others, Part 1. Edited by Ruth I. DeFord. A-R Editions, 1993. http://dx.doi.org/10.31022/r092.

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Garcia, Balmes Vega. Contrafac~ao de Patentes: Violac~ao de Direitos de Propriedade Industrial Com Enfase Na Area Quimico-Farmaceutica. Editora Ltr, 2005.

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Book chapters on the topic "Contrafacts"

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Georis, Christophe. "Contrafactum et oraison mystique." In Poésie latine à haute voix (1500-1700). Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.latin-eb.4.00145.

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Chaillou-Amadieu, Christelle, and Anne-Zoé Rillon-Marne. "Emprunter et creér : quelques réflexions sur le contrafactum." In Culture et société médiévales. Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.csm-eb.5.108661.

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Schedl, Barbara. "Die innerstädtische Sakraltopographie auf der Meldemanschen „contrafactur“ von 1529/30." In Die Osmanen vor Wien. Böhlau Verlag, 2020. http://dx.doi.org/10.7767/9783205210542.287.

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Martin, Henry. "Summary and Assessment." In Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0011.

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Chapter 10 pulls together information from the analytical chapters and provides a summary via a series of tables. These tables include the Parker contrafacts based on “Honeysuckle Rose” and rhythm changes; Parker’s works enumerated by category, key, contrafact, and primary line; Parker’s attitude toward revisions and adaptations; what tunes Parker liked to call on the bandstand; and what works might be excluded from a list of Parker compositions, if a more traditional understanding of composition is assumed. The chapter concludes with discussions of Parker’s tendencies toward quotation and self-quotation, his interest in twentieth-century concert music (an ambition he was unable to fulfill), and his overall compositional legacy.
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"Contrafacts from the British Isles." In The Persistence of Voice: Instrumental Music and Romantic Orality. BRILL, 2017. http://dx.doi.org/10.1163/9789004343368_013.

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Martin, Henry. "32-Bar Rhythm Changes Compositions." In Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0003.

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Chapter 2 begins with an overview of Parker’s fully composed 32-bar rhythm changes compositions. Parker is strongly associated with improvising on rhythm changes (the chord changes of “I Got Rhythm,” by George and Ira Gershwin), but there are only six such pieces, and they are all in B♭ major: “Red Cross,” “Shaw ’Nuff,” (co-composed with Dizzy Gillespie), “Moose the Mooche,” “Thrivin’ from a Riff,” “Dexterity,” and “Passport.” This allows for convenient comparison among them. Among the various conclusions, the analyses show that despite being contrafacts on rhythm changes—all in the same key and using straightforward bebop harmony—these pieces are satisfyingly different.
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Variego, Jorge. "Harmony (Exercises 21–40)." In Composing with Constraints. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190057237.003.0003.

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This chapter focuses on sounds that occur simultaneously. The concept of harmony here is broad and has a far-reaching scope; it includes functional and non-functional harmonies, color, and any other approach to simultaneous sonorities. Exercise 21 suggests the implementation of voice leading as a constructive principle through stylistic imitation. Number 22, in which “melody becomes harmony,” proposes the harmonization of a melody using exclusively its pitch content. Exercise 23 incorporates symmetrical harmonies; 24 and 25 use the harmonic series to create harmonies. In 26 the harmonies are built around major and minor triads with pitches in common. Exercise 27 incorporates the use of integer notation; 28 uses scale degrees but not triads. The base of exercise 29 is the 12-tone row; 30 uses the concept of “circle” progression or harmonies that move around the circle of fifths; 31 and 32 incorporate harmonies that move in major and minor thirds; 33 and 34 discuss overlapping triads and polytonality; 35 provides an opportunity to work with pedal tones; 36 incorporates the church modes and 37 the use of clusters (i.e., harmonies based exclusively on minor a major seconds). Exercise 38 is based on harmonic sequences; 39 and 40 discuss implied harmonies and writing “contrafacts.”
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"El Divino Narciso: ¿contrafacta de Eco y Narciso?" In Anuario calderoniano 4 (2011). Vervuert Verlagsgesellschaft, 2011. http://dx.doi.org/10.31819/9783954879915-004.

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"III. EL DIVINO NARCISO: ¿CONTRAFACTA DE ECO Y NARCISO?" In Cósmica y cosmética. Vervuert Verlagsgesellschaft, 2013. http://dx.doi.org/10.31819/9783954870851-005.

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"4. Jacques de Cambrai, Distinctive Traditionalism, and Kaleidoscopic Contrafacta." In Marian Devotion in Thirteenth-Century French Lyric. University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442677043-006.

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