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Relevant bibliographies by topics / Dixit Dominus

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Academic literature on the topic 'Dixit Dominus'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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Journal articles on the topic "Dixit Dominus"

1

Montagnier, Jean-Paul, Marianna von Martines, and Irving Godt. "Dixit Dominus." Revue de musicologie 85, no. 2 (1999): 381. http://dx.doi.org/10.2307/947102.

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Ballor, Jordan J., and Todd M. Rester. "‘Dominus dixit’." Reformation & Renaissance Review 15, no. 1 (2013): 9–19. http://dx.doi.org/10.1179/1462245913z.00000000027.

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Talbot, Michael. "Diogenio Bigaglia and His Dixit Dominus." Eighteenth Century Music 19, no. 2 (2022): 151–72. http://dx.doi.org/10.1017/s1478570622000045.

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AbstractIn his own time Diogenio Bigaglia (1678–1745) was viewed as the equal of Venice's three great amateur musicians active during the first half of the eighteenth century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but he is largely forgotten today. Part of the reason is the secluded, uneventful life he led as a Benedictine monk at the abbey of San Giorgio Maggiore. This article analyses an impressive early work: a twelve-movement Dixit Dominus probably composed between 1700 and 1710. This work occupies the borderland between late seventeenth-century musical practice and

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STOCKIGT, JANICE B., and MICHAEL TALBOT. "TWO MORE NEW VIVALDI FINDS IN DRESDEN." Eighteenth Century Music 3, no. 1 (2006): 35–61. http://dx.doi.org/10.1017/s1478570606000480.

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Two further unknown sacred vocal compositions by Vivaldi, a Dixit Dominus and a Lauda Jerusalem, have turned up in a collection that has already witnessed two similar discoveries in recent decades: that of the former Saxon Hofkapelle, today in the Sächsische Landesbibliothek / Staats- und Universitätsbibliothek Dresden. Like their predecessors, the newly discovered works were acquired between the mid-1750s and early 1760s from the copying shop of Iseppo Baldan in Venice, who falsified the attribution on the title page to make the composer Galuppi instead of Vivaldi. Whereas the Lauda Jerusalem

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Elswit, Kate. "Inheriting Dance's Alternative Histories." Dance Research Journal 46, no. 1 (2014): 5–22. http://dx.doi.org/10.1017/s0149767714000151.

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In 1975, German choreographer Kurt Jooss created his last dance,Dixit Dominus, for Swedish-based Indian dancer Lilavati Häger. After Rani Nair reconstructed what is often seen as a “minor” work, she then createdFuture Memory(2012) to engage more directly with her inheritance, from caring for the personal things and stories that surrounded the piece to re-working its promise of dancing between European and Indian forms. Working outward from my position as dramaturg and historian for this project, this essay addresses the potential and precariousness of contemporary dance's experiments with redo

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6

Денисов, А. В. "Иноконфессиональные музыкальные цитаты в литургических и светских жанрах второй половины XVI — первой половины XIX в. и Credo Мессы h-moll И. С. Баха". OPERA MUSICOLOGICA 16 / 4, № 2024 (2024): 82–105. https://doi.org/10.26156/operamus.2024.16.4.005.

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Исследование иноконфессиональных музыкальных цитат связано с решением ряда вопросов, среди которых на первом плане оказываются религиозно-этический и эстетический. Отдельно следует учитывать функциональный аспект: в ка ком контексте автор предполагал исполнение подобных сочинений. Показана историческая изменчивость обращения композиторов к иноконфессиональным цитатам: в XIX в. они все чаще стали возникать в светских жанрах (на первом месте — хорал “Dies Irae”). На конкретных примерах проанализированы причины, объясняющие их появление: внешние обстоятельства (заказ) — “Lauda Sion” Ф. Мендельсон

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Champion, Matthew S., and Miranda Stanyon. "MUSICALISING HISTORY." Transactions of the Royal Historical Society 29 (November 1, 2019): 79–103. http://dx.doi.org/10.1017/s0080440119000045.

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ABSTRACTWhile there have been growing calls for historians to listen to the past, there are also significant barriers to integrating music in particular into broader historical practice. This article reflects on both the gains and difficulties of this integration, moving from an interrogation of the category of music to three case studies. These concern musical terms, compositional practices and cultures from the fifteenth to eighteenth centuries, revisiting some key debates in musicology: first, the highly charged language of sweetness deployed in the fifteenth century; second, connections di

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Ágústsson, Jóhannes. "‘Il grosso pacco della musica’: The Galuppiana Consignments for August III and Count Heinrich von Brühl in Warsaw, 1757–1761." Muzyka 65, no. 2 (2020): 62–104. http://dx.doi.org/10.36744/m.447.

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The Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB), holds one of the world’s largest collections of sacred and secular works by the Italian composer Baldassarre Galuppi, “il Buranello”, whose operatic music was very popular in the mid-1750s with the Saxon elector and Polish king August III and other members of his court. This impressive collection of Galuppiana includes numerous copies of liturgical works from the copying house of the Venetian priest and notorius forger Iseppo (Giuseppe) Baldan. Recently, several compositions falsely attributed to Galuppi by Ba

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Jakšić, Nikola. "Minijature 15. stoljeća u psaltiru iz Franjevačkog samostana u Kamporu na Rabu." Ars Adriatica, no. 3 (January 1, 2013): 123. http://dx.doi.org/10.15291/ars.465.

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The paper deals with a 15 century psalter that was kept in Franciscan convent at Kampor on Rab Island. In 1986 it was stolen, thrown away and later found in the sea by local fishermen. It was entirely destroyed.In this way, another worthy historical testimony disappeared from otherwise opulent heritage of this Dalmatian island. Author has made an effort to reconstruct the destroyed manuscript through comparison with Dalmatian Franciscan manuscripts from both Zadar and Dubrovnik, chosen mostly because of their common contents. In literature, Kampor manuscript was concisely published long ago -

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Masithoh, Anny Rosiana. "HUBUNGAN PENGETAHUAN, SIKAP, DAN STATUS EKONOMI DENGAN PERILAKU DIIT PADA PASIEN DM RAWAT JALAN DI RSI JEPARA." Jurnal Ilmu Keperawatan dan Kebidanan 10, no. 1 (2019): 116. http://dx.doi.org/10.26751/jikk.v10i1.649.

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Latar Belakang: Perilaku diit pada prinsip gizi dan perencanaan makan merupakan salah satu kendala pada pasien diabetes. Penderita diabetes banyak yang merasa tersiksa sehubungan dengan jenis dan jumlah makanan yang dianjurkan. Pada tahun 2016 di Poliklinik Penyakit Dalam RSI Sultan Hadlirin Jepara ditemukan kasus DM sebanyak 4.022 orang .Tujuan : Untuk mengetahui hubungan pengetahuan, sikap, dan status ekonomi dengan perilaku diit pada Pasien DM Rawat Jalan di RSI Jepara.Metode: Penelitian ini adalah korelasi. Desain yang digunakan dalam penelitian ini adalah cross sectional. Populasi pada pe

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Dissertations / Theses on the topic "Dixit Dominus"

1

Geck, Karl Wilhelm. "Dixit Dominus in der Annenkirche." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2006. http://nbn-resolving.de/urn:nbn:de:swb:14-1156337214536-40508.

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Koldau, Linda Marie. "“Divino Claudio” oder Komponist seiner Zeit? Claudio Monteverdis Dixit Dominus-Vertonungen und die Entwicklung des concertato-Stils um die Mitte des Seicento." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36699.

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Bassano, Marie. ""Dominus domini mei dixit. . . "; Enseignement du droit et construction d'une identité des juristes et de la science juridique : Le studium d'Orléans (c.1230-c.1320)." Paris 2, 2008. http://www.theses.fr/2008PA020052.

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Entre 1235 et 1320, le studium de droit d’Orléans vit l’un des moments les plus brillants de son histoire. Tout au long de cette période, les idées produites dans l’école se répandent dans les milieux juridiques, les hommes formés à Orléans se retrouvent dans la haute administration publique. Comment expliquer ce phénomène ? La dispersion et la diffusion tant des doctrines que des suppôts de la formation orléanaise sont la marque d’une conception renouvelée de la science du droit qui trouve naissance dans le studium ligérien tout au long du XIIIe siècle. L’enseignement orléanais s’appuie sur d

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Dixit, Onkar [Verfasser], Norbert [Akademischer Betreuer] Mollekopf, and Dominik [Akademischer Betreuer] Möst. "Upgrading Biogas to Biomethane Using Absorption / Onkar Dixit. Betreuer: Norbert Mollekopf. Gutachter: Norbert Mollekopf ; Dominik Möst." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://d-nb.info/108010593X/34.

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Driscoll, Michael Thomas. "Jan Dismas Zelenka’s ‘Dixit Dominus’ settings within the context of the Dresden Hofkapelle." Thesis, 2016. https://hdl.handle.net/2144/19581.

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Bohemian composer Jan Dismas Zelenka (1679–1745) composed forty-one Vespers works for performances at services of the Dresden Hofkapelle. Zelenka maintained an inventory of sacred works in his possession, which he titled ‘Inventarium rerum Musicarum Ecclesiae servientium.’ Zelenka categorized his psalm settings into two collections: thirty-three ‘Psalmi Vespertini totius anni’ and eight ‘Psalmi varii…Separatim Scripti.’ Together these psalm settings comprise four cycles of Vespers music, each of which begin with a setting of the psalm Dixit Dominus. Of the four Dixit Dominus settings (ZWV 66–6

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Books on the topic "Dixit Dominus"

1

(Composer), Antonio Vivaldi, and Michael Talbot (Editor), eds. Dixit Dominus RV595: Critical Edition Score. Ricordi, 1995.

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2

(Composer), Antonio Vivaldi, and Paul Everett (Editor), eds. Dixit Dominus RV594: Critical Edition Score. Ricordi, 2003.

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3

Dixit Dominus: For Chorus and Orchestra. Eulenburg London (Schott), 1985.

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Martines, Marianna Von. Dixit Dominus (Recent Researches in the Music of the Classical Era). A-R Editions, 1997.

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5

Elswit, Kate, and Rani Nair. Letters to Lila and Dramaturg’s Notes on Future Memory. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.38.

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In 1975, German choreographer Kurt Jooss created his last dance, Dixit Dominus, for Swedish-based Indian dancer Lilavati Häger. After Rani Nair reconstructed what is often seen as “minor” work, she then created Future Memory (2012/2014) to engage more directly with her inheritance, from caring for the personal things and stories that surrounded the piece to reworking its promise of dancing between European and Indian forms. Working outward from Elswit’s position as dramaturge and historian for this project, and accompanied by Nair’s letters to Häger, this chapter addresses the potential and pr

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6

SAGASETA, AURELIO. OBRAS DE MAESTROS ITALIANOS EN LA CATEDRAL DE PAMPLONA : Francesco Grassi : Misa a 8/Dixit Dominus. Girolamo Sertori: Misa a otto voci. EDICIONES UNIVERSIDAD DE NAVARRA, S.A., 2018.

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SAGASETA, AURELIO. OBRAS DE MAESTROS ITALIANOS EN LA CATEDRAL DE PAMPLONA : Francesco Grassi : Misa a 8/Dixit Dominus. Girolamo Sertori: Misa a otto voci. EDICIONES UNIVERSIDAD DE NAVARRA, S.A., 2018.

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8

Vivaldi, Antonio. Dixit Dominus: Salmo 109 per due soprani, tenore e basso solisti, due cori a quattro voci miste, due trombe, due oboi e archi (due violini, viola e basso) divisi in due cori, RV 594. 2015.

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Book chapters on the topic "Dixit Dominus"

1

Kurtzman, Jeffrey. "Dixit Dominus." In Vesper and Compline Music for Eight Principal Voices, Part Two. Routledge, 2020. http://dx.doi.org/10.4324/9781315790015-3.

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2

Banchieri, Adriano. "DIXIT DOMINUS." In Vesper and Compline Music for One Principal Voice. Routledge, 2013. http://dx.doi.org/10.4324/9781315050300-6.

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"Dixit Dominus." In Vesper and Compline Music for Five Principal Voices, Part I. Routledge, 2013. http://dx.doi.org/10.4324/9780203819586-19.

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Martines, Marianna von. "Dixit Dominus." In Recent Researches in the Music of the Classical Era, 48. A-R Editions, 1997. http://dx.doi.org/10.31022/c048.

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Legrenzi, Giovanni. "DIXIT DOMINUS." In Vesper and Compline Music for Four Principal Voices. Routledge, 2014. http://dx.doi.org/10.4324/9780203819579-13.

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6

Cifra, Antonio. "DIXIT DOMINUS." In Vesper and Compline Music for Four Principal Voices. Routledge, 2014. http://dx.doi.org/10.4324/9780203819579-6.

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Kurtzman, Jeffrey. "Obbligato Instruments." In The Monteverdi Vespers Of 1610. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164098.003.0019.

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Abstract In three compositions of the 1610 Vespers, Domine ad adjuvandum, the Sonata sopra Sancta Maria, and the Magnificat a 7, Monteverdi calls for specific obbligato instruments, while in two others, Dixit Dominus and Ave maris stella, notated instrumental parts are provided for ritornellos without any indication of what instruments might be used.

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"Chapter Six. Padre Martini and the Dixit Dominus." In Marianna Martines. Boydell and Brewer, 2010. http://dx.doi.org/10.1515/9781580467636-012.

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Vilar-Payá, Luisa. "El ideario palafoxiano y la música de Juan Gutiérrez de Padilla : el salmo Dixit Dominus y el Credo de la misa Ego flos campi." In De Nueva España a México : el universo musical mexicano entre centenarios (1517-1917). Universidad Internacional de Andalucía, 2020. http://dx.doi.org/10.56451/10334/5419.

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"In vigilia sancti Iohannis Baptiste, die 22 junii ‘Misit dominus manum suam et tetigit os meum et dixit mihi’ etc. ‘Ecce constitui te super gentes et regna’ (Ier. 1:9)." In Meister Eckhart, The German Works. Peeters Publishers, 2020. http://dx.doi.org/10.2307/j.ctv1q26v88.14.

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Conference papers on the topic "Dixit Dominus"

1

D.H., Akkamahadevi, and Nataraj Urs H.D. "A Low-Power Skew Tolerant Domino Digit Serial Multiplier." In 2009 International Conference on Advances in Computing, Control, & Telecommunication Technologies (ACT 2009). IEEE, 2009. http://dx.doi.org/10.1109/act.2009.149.

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