Relevant bibliographies by topics / Isaac, Heinrich. Isaac, Heinrich, Messe

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  2. Dissertations / Theses
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Academic literature on the topic 'Isaac, Heinrich. Isaac, Heinrich, Messe'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Isaac, Heinrich. Isaac, Heinrich, Messe"

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Burn, David J., Blake Wilson, and Giovanni Zanovello. "Absorbing Heinrich Isaac." Journal of Musicology 28, no. 1 (January 1, 2011): 1–8. http://dx.doi.org/10.1525/jm.2011.28.1.1.

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WILSON, BLAKE. "Heinrich Isaac among the Florentines." Journal of Musicology 23, no. 1 (January 1, 2006): 97–152. http://dx.doi.org/10.1525/jm.2006.23.1.97.

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ABSTRACT In the archives of the old and wealthy patrician family of the ““da Filicaia”” housed in the Florentine Archivio di Stato survives a group of letters written by, among others, one Ambrogio Angeni to the young Antonio da Filicaia, away on family business in northern Europe for extended periods of time during the 1480s and 1490s. The correspondence details the musical activities of these young men's Florentine brigata and reveals a close involvement with Heinrich Isaac and proximity to Lorenzo de' Medici's private musical circles. The letters document a very active traffic in musical scores, both vernacular works composed in Florence by Isaac and others that were mailed north, as well as sacred and secular works composed in France and sent to Florence. More specifically, the letters contain many musical references to new compositions, works by Isaac, preparations for carnival, aesthetic judgments and technical discussions, Lorenzo's patronage, and a very active local composer previously unknown to musicologists. The correspondence dates from 1487––89, while Antonio was residing in Nantes (Brittany), and it provides an unprecedented view of musical life in Florence at a critical period when carnival celebrations were resurgent, northern repertory was being collected and copied, northern composers (like Isaac) were interacting with local composers, and compositional procedures were changing.
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DeFord, R. I. "Heinrich Isaac and his world." Early Music 38, no. 3 (July 12, 2010): 481–82. http://dx.doi.org/10.1093/em/caq064.

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Bryan, John. "Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England." Journal of Musicology 28, no. 1 (January 1, 2011): 118–41. http://dx.doi.org/10.1525/jm.2011.28.1.118.

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The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book—in particular, techniques employed by the composers to extend the structures of their “songs without words”—sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.
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Planchart, Alejandro Enrique. "Notes on Heinrich Isaac's Virgo prudentissima." Journal of Musicology 28, no. 1 (January 1, 2011): 81–117. http://dx.doi.org/10.1525/jm.2011.28.1.81.

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Isaac's Virgo prudentissima, composed in 1507 for the Reichstag in Constance that confirmed Maximilian I as Holy Roman Emperor, is one of the composer's most complex and extended works. It is also a self-consciously constructivist piece that looks back to the repertoire of tenor motets pioneered by Guillaume Du Fay, Jehan de Ockeghem, and most prominently by Iohannes Regis. Yet its construction is markedly different from similar motets by his contemporary Josquin Des Prez, who used a nearly schematic construction in Miserere mei Deus, and ostinato techniques in Illibata Dei genitrix. This article takes a close look at Virgo prudentissima in order to show how Isaac achieves both a great deal of variety in textures and sonorities and a remarkable degree of motivic and thematic unity in the piece. The unity in Isaac's motet is largely due to an interplay of two basic textures and two kinds of motivic construction that are exposed in the first few sections of each pars and then fused in the concluding section, and to a judicious choice of which phrases of the cantus firmus—an antiphon for Vespers of the Assumption—he chooses to paraphrase in the free voices. The motet's mensural structure—one section with all voices in ◯, and one with the tenor continuing in ◯ but the other five voices switching to ◯2, with semibreve-minim equivalence with the tenor—has been ignored entirely in all modern performances of the work that have been recorded in the last thirty years, usually with disastrous consequences for the performance of the secunda pars of the work. Isaac's notation is implausible until one realizes that he is using it for symbolic purposes and at the same time pointing to a correct tempo relationship between the partes by his organization of the phrase structure and the imitation at the beginning of the secunda pars. Isaac thus places this motet in what can be called a mensural tradition, which has its beginnings in the motets of Du Fay in the 1430s and in the wholesale adoption of the “English” relationship between triple and duple meters in the second half of the fifteenth century.
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Cumming, Julie E. "Composing Imitative Counterpoint around a Cantus Firmus: Two Motets by Heinrich Isaac." Journal of Musicology 28, no. 3 (2011): 231–88. http://dx.doi.org/10.1525/jm.2011.28.3.231.

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In the decades around 1500 composers learned to combine the new style of imitative polyphony with the older practice of basing a work on a cantus firmus. By applying Peter Schubert’s technique of modular analysis and his descriptions of common contrapuntal techniques to Heinrich Isaac's Inviolata integra et casta es Maria and Alma redemptoris mater, we can learn a great deal about compositional process in the period. Inviolata, which features a cantus firmus in strict canon after two measures, consists of two-, three-, and four-voice modules. Moreover, understanding the modular construction of the piece makes it possible to reconstruct the missing contratenor 2 part. In Alma redemptoris mater, which features a tenor cantus firmus that uses both long-note presentation and free paraphrase, Isaac uses four-voice modules, imitative presentation types involving modules, and nonmodular contrapuntal techniques probably derived from improvisatory practices. Understanding and labeling the contrapuntal techniques used in composition of this period allow us to analyze the music with a new precision, and to describe the differences between composers and genres.
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Wiesenfeldt, Christiane. ""Der erste deutsche 'Großmeister' der Musik"." Die Musikforschung 69, no. 1 (September 22, 2021): 1–13. http://dx.doi.org/10.52412/mf.2016.h1.406.

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Die Anfänge der Erforschung "alter" Musik im 19. Jahrhundert prägen Missverständnissen und Fehldeutungen, die wiederum Rückschlüsse auf das Wissenschafts- wie Musikgeschichtsbild der ersten Forscher und Sammler zulassen. Als Beispiel dafür, das Konsequenzen sowohl für die Deutung einer Messgattung als auch ihres Komponisten, ihrer unikaten Quelle und nicht zuletzt für die Rolle und Bedeutung deutschsprachiger Komponisten um 1500 hatte, wird hier die Geschichte von Heinrich Fincks Entdeckung als Messkomponist am Beispiel seiner "Missa de Beata Virgine" vorgestellt. Sie gibt in ihrer dokumentarischen Substanz Anlass, über das einzelne Werk oder dessen Kontext hinaus die Frage nach historiographischen Mechanismen, ihren Ausprägungen und wirkmächtigen Definitionen zu stellen, mit denen sich die Messenforschung zur Frühen Neuzeit noch heute auseinandersetzt. Zunächst werden Otto Kades umfangreiche Forschungsarbeiten auf dem Gebiet der alten Musik insbesondere seine Beteiligung am "Projekt Ambros" (August Wilhelm Ambros' unvollendete Geschichte der Musik in vier Bänden) erörtert. Als zentrales Anliegen Kades wird dabei die Frage nach dem Beginn einer "deutschen" mehrstimmigen Musik, die er um 1500 datiert und unter anderem an den Werken Heinrich Isaacs und Fincks festmacht, thematisiert. Anschließend wird das Regensburger Manuskript mit der "Missa de Beatia Virgine" untersucht, wobei zunächst Inhalt, Komponisten und Aufbau der Quelle beschrieben werden, bevor auf Provenienz und Entstehungszusammenhang der Quelle eingegangen wird. Als Ergebnis dieser Untersuchung wird festgehalten, dass die Finck zugeschriebene Messe im Gegensatz zu den übrigen Messen des Manuskripts keine eindeutige liturgische Konnotation aufweist. Womöglich handelte es sich hier um eines der frühesten Beispiele frei paraphrasierender, dreistimmiger Messkompositionen im deutschen Sprachgebiet um 1500. Der Quellenbefund widerlegt die These, dass diese Messe sich auf der Basis des Chorals stilistisch und kulturgeographisch von ihrem Umfeld zu "emanzipieren" trachtete; sie folgt als frühe Form polyphoner Durchkomposition im deutschen Sprachraum klar franko-flämischen Vorbildern. Für Kade, der lebenslang nach dem Ursprung deutscher Musik fahndete, wäre dies sicherlich kaum befriedigend gewesen. Mit dieser Einsicht hätte freilich manche Musikgeschichte der Frühen Neuzeit anders ausgesehen. bms online (Beatrix Obal)
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Zanovello, Giovanni. "““Master Arigo Ysach, Our Brother””: New Light on Isaac in Florence, 1502––17." Journal of Musicology 25, no. 3 (2008): 287–317. http://dx.doi.org/10.1525/jm.2008.25.3.287.

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Abstract Recently discovered documents shed new light on Heinrich Isaac's biography in the sixteenth century: hitherto unknown payments by Isaac (ca. 1450––1517) to the Florentine confraternity of Santa Barbara. As it turns out, Isaac was a regular member of the association from 1502 and bequeathed a substantial sum at his death. The records, in conjunction with other documents, illuminate Isaac's life from three complementary perspectives: the composer's biography (especially in the years 1502––7 and 1509––17), the wider context of the actions Isaac took in preparation for his old age and death, and the issues they raise regarding the composer's social background and integration in Florence during the first years of the sixteenth century. Against this backdrop the new documents allow us to question a number of assumptions, including the notion that Isaac's main residence in 1502––17 was in the imperial lands and that his social integration in Florence was exclusively linked to the Medici. They enrich our understanding of the social history of northern musicians in Italy around 1500.
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Robison, John O. "Vienna, Austrian National Library, Manuscript 18810: A Repertory Study and Manuscript Inventory With Concordances." Royal Musical Association Research Chronicle 19 (1985): 68–84. http://dx.doi.org/10.1080/14723808.1985.10540913.

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Ms 18810 of the austrian national library has long been known to scholars as an important source of the secular works of Ludwig Senfl, Heinrich Isaac, and Paul Hofhaimer. Most of the remaining compositions in the manuscript, however, have been overlooked because they are either anonymous or by lesser-known composers. The purposes of this paper will be to discuss the manuscript and its contents, examine the musical styles found within it, and present an inventory more complete than that made more than eighty years ago by Josef Mantuani (1899, vol. 10, 219–24)’.
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Wegman, Rob C. "Isaac's Signature." Journal of Musicology 28, no. 1 (January 1, 2011): 9–33. http://dx.doi.org/10.1525/jm.2011.28.1.9.

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ABSTRACT The notion of the signature could serve as an appropriate metaphor by which to explore Heinrich Isaac as a man of his time and world. It may be mere coincidence that he has left more documents signed in his own hand than contemporary composers, but some of the documents he authenticated in this way really do attest to a new idea of professional musicianship that Isaac was the earliest and most successful in implementing: that of the professional composer who undertakes to produce new works under contractual obligation. Isaac is the first-known musician who signed a document specifically in this capacity. Yet his signature, or at least the assurance that he personally composed and signed a musical work, is also found in the context of practical musical sources, where they would appear to have no legal significance. Martin Just has shown, however, that the particular folios containing these compositions, in the manuscript Berlin 40021, were originally sent as letters. The implication is that Isaac's signature, in this case, is not an attribution so much as a mark of authentication—something that would have been required only if the musical works in question were sent, and changed hands, as part of a commercial transaction. Taking the metaphor of the signature in a broader figurative sense, one could suggest that Isaac's work also bears his musical signature—namely in the personal style that his contemporaries tried to recognize and in some cases to characterize in words. Two authors who tried to capture the peculiar quality of Isaac's music are Paolo Cortesi and Heinrich Glarean. The latter's attempt is especially significant, since Glarean seems to attest to a new way of hearing and conceptualizing polyphony. Although it is hard to identify specifically which passages in Isaac's music he would have had in mind, the key to his appraisal seems to lie in a different way of conceptualizing the interplay of contrapuntal voices in contemporary music. To the extent that we can associate this with Isaac's musical signature, it would appear, once again, that this composer, more than any other, was at the forefront of some of the most significant developments in the music history of his time.
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Dissertations / Theses on the topic "Isaac, Heinrich. Isaac, Heinrich, Messe"

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Zanovello, Giovanni. "Heinrich Isaac, the mass Misericordias domini, and music in late-fifteenth-century Florence /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400637293.

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Bartel, Kate Patricia. "Portal of the skies four scenes in the musical life of the Virgin Mary, ca. 1500-1650 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324371221&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Hurtado, Zavala Joaquin Isaac [Verfasser], Camin [Akademischer Betreuer] [Gutachter] Dean, Ralf [Gutachter] Heinrich, and Thomas [Gutachter] Dresbach. "TRPV1 regulates excitatory innervation of oriens lacunosum moleculare (OLM) neurons in the hippocampus to affect synaptic plasticity / Joaquin Isaac Hurtado Zavala ; Gutachter: Camin Dean, Ralf Heinrich, Thomas Dresbach ; Betreuer: Camin Dean." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2017. http://d-nb.info/1123283052/34.

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Gilbert, Adam Knight Isaac Heinrich. "Elaboration in Heinrich Isaac's three-voice mass sections and untexted compositions /." 2003. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017090632&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Books on the topic "Isaac, Heinrich. Isaac, Heinrich, Messe"

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Heinrich Isaac and polyphony for the proper of the mass in the Late Middle Ages and Renaissance. Turnhout: Brepols, 2011.

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Burn, David, and Stefan Gasch, eds. Heinrich Isaac and Polyphony for the Proper of the Mass in the Late Middle Ages and the Renaissance. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.6.09070802050003050402040902.

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A Knight at the opera: Heine, Wagner, Herzl, Peretz, and the legacy of der Tannhäuser. West Lafayette, Ind: Purdue University Press, 2011.

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Bodsch, Ingrid. Harry Heine stud. juris in Bonn 1819/20: Zum ersten Studienjahr Heinrich Heines (1797-1856) und zur Bonner Stammbuchblätterfolge von ca. 1820 des stud. med. Joseph Neunzig (1797-1877) : [Begleitbuch zur Ausstellung mit dem vollständigen Abdruck aller Albumblätter aus dem Stammbuch von Isaac Coppenhagen und der uns zusätzlich bekannten (topographischen) Motive aus der Bonner Stammbuchblätterfolge von Joseph Neunzig von ca. 1820. Bonn: Stadtmuseum Bonn, 1997.

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Mahrt, William Peter. The missae ad organum of Heinrich Isaac. 1989.

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1926-, Salmen Walter, ed. Heinrich Isaac und Paul Hofhaimer im Umfeld von Kaiser Maximilian I: Bericht über die vom 1. bis 5. Juli 1992 in Innsbruck abgehaltene Fachtagung. Innsbruck: Edition Helbling, 1997.

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Goldstein, Rebecca. Literary Spinoza. Edited by Michael Della Rocca. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780195335828.013.26.

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This chapter focuses on literary artists—that is, novelists, poets, and playwrights—who have shown fascination with Baruch Spinoza’s philosophy. The fictionalization of Spinoza’s life begins during the Enlightenment period and continues until today. The multifaceted literary attraction to Spinoza becomes only more remarkable when one considers how little it was reciprocated. For all the attention that literary artists have paid to Spinoza, he appears to have accorded little thought to the arts. This chapter first examines why Spinoza has paid little attention to the arts before turning to literary figures who have made Spinoza the central character of their work, including Gotthold Lessing, Johann Wolfgang von Goethe, Friedrich Hölderlin, Novalis, Samuel Taylor Coleridge, William Wordsworth, Heinrich Heine, Matthew Arnold, Herman Melville, George Eliot, Jorge Luis Borges, Zbigniew Herbert, Eugene Ostashevsky, Goce Smilevski, and Isaac Bashevis Singer. It concludes by discussing how compatible literary Spinoza is with philosophical Spinoza.
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Kottmann, Nora, and Cornelia Reiher, eds. Studying Japan. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845292878.

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Studying Japan is the first comprehensive guide on qualitative methods, research designs and fieldwork in social science research on Japan. More than 70 Japan scholars from around the world provide an easy-to-read overview on qualitative methods used in research on Japan’s society, politics, culture and history. The book covers the entire research process from the outset to the completion of a thesis, a paper, or a book. The authors provide basic introductions to individual methods, discuss their experiences when applying these methods and highlight current trends in research on Japan. The book serves as a foundation for a course on qualitative research methods and is, but can also be used as a reference for all researchers in Japanese Studies, the Social Sciences and Area Studies. It is an essential reading for students and researchers with an interest in Japan! With contributions by: Chapter: Celeste L. Arrington, David Chiavacci, Andreas Eder-Ramsauer, James Farrer, Roger Goodman, Carola Hommerich, Nora Kottmann, Gracia Liu-Farrer, Levi McLaughlin, Chris McMorran, Caitlin Meagher, Kaori Okano, Theresia B. Peucker, Cornelia Reiher, Katja Schmidtpott, Christian Tagsold, Katrin Ullmann, Gabriele Vogt, Cosima Wagner, Akiko Yoshida and Urs Matthias Zachmann. Essays: Shinichi Aizawa, Noor Albazerbashi, Daniel P. Aldrich, Allison Alexy, Verena Blechinger-Talcott, Christoph Brumann, Genaro Castro-Vázquez, David Chiavacci, Jamie Coates, Emma E. Cook, Laura Dales, James Farrer, Flavia Fulco, Isaac Gagné, Nana Okura Gagné, Sonja Ganseforth, Sheldon Garon, Julia Gerster, Christopher Gerteis, Markus Heckel, Steffen Heinrich, Joy Hendry, Swee-Lin Ho, Barbara Holthus, Katharina Hülsmann, Jun Imai, Hanno Jentzsch, Aya H. Kimura, Emi Kinoshita, Susanne Klien, Gracia Liu-Farrer, Patricia L. Maclachlan, Wolfram Manzenreiter, Kenneth M. McElwain, Lynne Y. Nakano, Scott North, Robin O’Day, Robert J. Pekkanen, Saadia M. Pekkanen, Isabelle Prochaska-Meyer, Nancy Rosenberger, Richard J. Samuels, Annette Schad-Seifert, Katja Schmidtpott, Tino Schölz, Kai Schulze, Kay Shimizu, Karen Shire, David H. Slater, Celia Spoden, Brigitte Steger, Nicolas Sternsdorff-Cisterna, Christian Tagsold, Akiko Takeyama, Daisuke Watanabe, Daniel White, Anna Wiemann and Tomiko Yamaguchi. Foreword: Ilse Lenz and Franz Waldenberger.
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Book chapters on the topic "Isaac, Heinrich. Isaac, Heinrich, Messe"

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Lindmayr-Brandl, Andrea. "Isaac, Heinrich." In Komponisten Lexikon, 285–87. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_149.

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Lindmayr, Andrea. "Isaac, Heinrich." In Metzler Komponisten Lexikon, 366–68. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_149.

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Staehelin, Martin. "Eine Trauermotette von Costanzo Festa auf Heinrich Isaac?" In Epitome musical, 469–75. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2712.

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Hedger, Eleanor. "HEINRICH ISAAC’S MISSA COMME FEMME DESCONFORTÉE:." In Henricus Isaac (c.1450/5-1517), 177–88. Hollitzer Verlag, 2019. http://dx.doi.org/10.2307/j.ctvt6rjfb.13.

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Pietschmann, Klaus. "EMPEROR MAXIMILIAN I, AUDIBLE IDEOLOGY AND HEINRICH ISAAC’S OPTIME PASTOR." In Henricus Isaac (c.1450/5-1517), 189–208. Hollitzer Verlag, 2019. http://dx.doi.org/10.2307/j.ctvt6rjfb.14.

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Burn, David J. "Heinrich Isaac and his Recently Discovered Missa Presulem ephebeatum." In Recevez ce mien petit labeur, 49–60. Leuven University Press, 2008. http://dx.doi.org/10.2307/j.ctt9qf16q.7.

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Bor, Harris. "Enlightenment Values, Jewish Ethics: The Haskalah’s Transformation of the Traditional Musar Genre." In New Perspectives on the Haskalah, 48–63. Liverpool University Press, 2001. http://dx.doi.org/10.3828/liverpool/9781874774617.003.0004.

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This chapter examines Haskalah ethical literature and Jewish ethical writing (musar), and highlights how the Haskalah movement was poised between Jewish tradition and European culture. It shows that moral improvement was a fundamental concern of the Haskalah. Since moral education was meant to serve as a link between the aims of the Enlightenment and Jewish tradition, ethical literature was an index to the balance between the modern and the traditional. The chapter then illustrates the importance of comparative study. By comparing the texts and motifs of the Enlightenment on issues such as the immortality of the soul and civic education with the ethical ideas of such maskilim as Isaac Satanow, Naphtali Herz Wessely, Menahem Mendel Lefin, and Judah Leib Ben Ze'ev, it reveals the extent to which the Haskalah drew upon the educational methods of German reformist educators like Johann Heinrich Campe and Johann Bernhard Basedow.
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