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Dissertations / Theses on the topic 'Madrigals'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Crawford, Glenda S. "A Conductor's Guide to Selected Concerted Madrigals from Madrigals Book 8 (Madrigali Guerrieri et Amorosi) by Claudio Monteverdi." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321367858.

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2

Hermsdorf, Dieter. "Die Madrigale Jacobus Arcadelts." Saarbrück : Saarbrücker Druckerei und Verlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb38980967f.

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3

Paget, Laurie Alison. "The madrigals of Marc'Antonio Ingegneri." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338175.

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4

Freitas, Ludmilla Thompson Sathler 1989. "Os conceitos de gravità e piacevolezza no madrigal italiano do século XVI /." São Paulo, 2019. http://hdl.handle.net/11449/183194.

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Orientador(a): Marcos Fernandes Pupo Nogueira<br>Banca: Mônica Isabel Lucas<br>Banca: Achille Guido Picchi<br>Resumo: Considera-se que as ideias de Pietro Bembo, uma das figuras mais importantes da cena literária italiana do século XVI, desempenharam papel relevante na música de sua época, em especial no desenvolvimento do madrigal italiano, formato musical que se propôs a utilizar poemas de alto valor literário escritos em língua vernácula, especialmente o vulgar florentino. Desta maneira, esta pesquisa procura indagar de quais maneiras e em que medida as ideias de Pietro Bembo podem ter sido
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5

Rowcroft, Victoria Jane. "The secular music of Giovanni Battista Moscaglia." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252047.

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6

Jacob, Roger. "The chansons and madrigals of Dominique Phinot (fl.c.1510-c.1556)." Thesis, University of Aberdeen, 1998. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=130926.

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This dissertation discusses the sixty-six chansons and two madrigals of Dominique Phinot ( <I>fl. c.</I> 1510 - <I>c.</I> 1556). These works are worthy of study in their own right. In addition, many contain innovatory elements which are historically significant. The dissertation is divided into six parts containing in total eleven chapters. Part A ( Chapter 1) summarizes Phinot's career and <I>oeuvre</I>, drawing upon both fact and speculation. Part B ( Chapters 2-6) deals with Phinot's four-voice non-canonic chansons, which are grouped according to the structures of their poetic texts. Chapte
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7

Parkes, Erin. "Bembism and motivicity in the madrigals of Willaert's "Musica nova"." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27002.

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In Venice in the mid-sixteenth-century, the madrigal was emerging as the highest musical expression of poetry. One of the foremost composers of this new genre was Adrian Willaert. The madrigals contained in his Musica nova for many are the pinnacle of the Italian madrigal. It has been suggested that Willaert's settings of Petrarch's poetry in this collection may have been influenced by the writings of Pietro Bembo, who was active in Venice in the first half of the sixteenth-century. It has also been suggested that Willaert used a compositional tool called motivicity in many of his works. The
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8

Gibbons, William James Carter Tim. "Issues of voice range and transposition in Monteverdi's Mantuan madrigals." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,124.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.
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9

Lloyd, Angela Jane. "Modal representation in the early madrigals of Cipriano de Rore." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362748.

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10

Knowles, Joseph Ian. "Modality and chromaticism in the madrigals of Don Carlo Gesualdo." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/10127/.

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Don Carlo Gesualdo, Prince of Venosa, (1566–1613) is celebrated for his idiosyncratic use of chromaticism. Yet, the harmony of Gesualdo's madrigals evades modal rules and his chromatic style has perplexed analysts. This thesis reappraises the modal and chromatic features in his madrigals and expands on their significance by employing pitch-class set theory analysis to enhance a more traditional modal approach. Whilst analysis of the music through modal features and pitch-class set theory may appear to use contradictory analytical methods, the two can complement each other through the recogniti
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11

Simon, Robert C. "The madrigal compositions of Bohuslav Martinů." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212767642.

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12

Almeida, Vicente Casanova de. "Monteverdi e o Stile Concitato: uma poética guerreira no oitavo livro de Madrigais de 1638." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-10112014-144929/.

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Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão éti
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13

Simon, Robert C. "The Madrigal Compositions of Bohuslav Martinů." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212767642.

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14

Sherrill, Barbara Ellen. "The Madrigals of Gioseffo Zarlino (1517-1590): A Descriptive Analysis Of Their Musical Expression and Text Underlay." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/193301.

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The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche were a vital link to the future of theory. His polyphonic music and ten text underlay rules are representative of the new music of the Venetian School, which was headed by his mentor Adrian Willaert. Examination of Zarlino's thirteen extant madrigals provides us with a direct example of these rules and the secular style of the Venetian School, who strived to elevate their secular works to that of sacred music. The style was inspired by Pietro Bembo's Petrarchan revival, in which Renaissance compos
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15

Cole, Harrison Nicholas. "The Use of Musico-Rhetorical Figures in Monteverdi's Ninth Book of Madrigals." Thesis, The University of Arizona, 2012. http://hdl.handle.net/10150/247283.

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Claudio Monteverdi's (1567-1643) ninth book of madrigals, the Madrigali e Canzonette, was published posthumously in 1651. These accompanied madrigals are for two or three voices, and some of them were previously published in his earlier books of madrigals, though the majority were unpublished. One of the types of analyses that helps to provide a plausible rationale for many of Monteverdi's melodic and harmonic decisions within those madrigals is musico-rhetorical analysis. Analyzing a madrigal rhetorically involves attempting to identify the musical techniques that coincide with rhetorical de
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16

Brown, Christopher E. "Magick in the Madrigals| The Case for Occultism in the Music of Carlo Gesualdo." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978703.

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<p> The Italian noble Carlo Gesualdo (1566&ndash;1613), Prince of Venosa and Count of Conza, is remembered in history just as much for his eventful and tormented life as he is for the richly expressive music he composed. His vengeful slaying of his first wife Donna Maria D&rsquo;Avalos and her lover Fabriozo Carafa Duke of Andria is widely regarded to be one of the great murder stories of Renaissance Europe, and from it stemmed wild folklore and superstition regarding the Prince. His famously melancholic disposition, numerous romantic affairs (including one with a practicing witch), brutally m
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17

Chiarelli, Francesca. "'Il Lume Rinchiuso' The poetics of the 'seconda prattica' Monteverdi's fifth, sixth and seventh books of madrigals." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307643.

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18

Krystal, Kuhns R. "Organizational Principles in Two of George Crumb's Chamber Works with Flute: Madrigals, Book II and Federico's Little Songs for Children." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1309128280.

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19

Foxe, Wilfred Thomas. "Text expression and tonal coherence in the printed Madrigals of Tommaso Pecci (1576-1604) : a Sienese perspective on the Second Practice." Thesis, Durham University, 1990. http://etheses.dur.ac.uk/1178/.

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20

Wiebe, Laura J. ""Peopled with invisible presences": Oxford and the Tudor revival, ca. 1890-1939." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2788.

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The `Tudor revival' of late nineteenth and early twentieth-century England saw unprecedented enthusiasm for the study and performance of English Renaissance music. The revival, which emphasized choral music, was characterized by a rich and interconnected fabric of events including manuscript discoveries, the publication of sundry new scholarly and performing editions, the founding of ensembles who specialized in early music, and an overall increase in the study and performance of Tudor music. Narratives of the Tudor revival have traditionally focused on the role of institutions and ensembles i
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21

Campbell, Annette. ""A choking gall and a preserving sweet" : gender and genre in Campion's First Booke of Ayres and Wilbye's First Set of English Madrigals." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31094.

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Recently, musicologists Linda Austern and Suzanne Cusick have examined the socio-cultural implications of gender issues in Renaissance music. Drawing on Cusick's research on gender-based binary oppositions in Italy and Austern's studies of women and music in England, I propose a related set of gender binary oppositions in English society. I apply these oppositions in detail to two specific works from the Elizabethan madrigal and lute song repertoire, then examine the remaining pieces from these collections as a whole and find that an overlap of four particular oppositions better captures the c
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22

Malhomme, Florence. "Pour une poétique du madrigal tardif : à travers les cinq livres de madrigaux à cinq voix de Luca Marenzio (1580-1599)." Paris 4, 1997. http://www.theses.fr/1997PA040002.

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Le madrigal ne nous livre plus aussi spontanément ses clés qu'il le faisait à l'homme de la Renaissance. Le monde poétique qu'il met en scène ne nous est plus familier et chacun de ses constituants musicaux a besoin d'être replacé en contexte et redéfini. Dans la Ière partie, "de la prééminence du modèle verbal", nous avons d'abord étudié la place du texte, d'après les traités d'art poétique (chap. I), puis d'après ceux de théorie musicale (chap. Ii). Nous avons ensuite analysé les poésies illustrées par Marenzio, en considérant les poètes (chap. III), et les formes (chap. IV), ce qui nous a p
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23

Wilson, Kathleen McCormick, and Giovanni Giacomo fl 1582-1609 Balletti voices (5) Selections Gastoldi. "A recital." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9980.

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Title from accompanying document.<br>Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble.<br>Digitized by Kansas Correctional Industries
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24

Swift, Olivia Giselle. "Creating the Modern Madrigal: Bringing the Madrigal into the Twenty-First Century." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21151.

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This study explores the concept of what constitutes a contemporary madrigal, and how this is inspired by and relates to the Renaissance form of the madrigal. Specifically, it aims to create an updated, more accurate definition of the madrigal than the one currently present in the literature; one that considers twentieth and twenty-first century examples of madrigals in addition to the traditional Renaissance form. The main characteristics of the contemporary madrigal are determined via a historical comparative analysis of contemporary case studies to the Renaissance madrigal, and the design of
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25

Mabbett, Margaret Anne. "The Italian madrigal, 1620-1655." Thesis, King's College London (University of London), 1989. https://kclpure.kcl.ac.uk/portal/en/theses/the-italian-madrigal-16201655(1a1a776e-79dc-42ba-a961-49c9c43ff270).html.

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26

Morales, Jorge. "Sigismondo d'India à la cour de Turin (1611-1623) : musique, mécénat et identité nobiliaire." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040139/document.

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Sigismondo D’India (1582 ?-1629 ?), contemporain de Claudio Monteverdi, est un compositeur parmi les plus importants du début du XVIIe siècle : l’un des pères fondateurs de la musique moderne. La présente thèse entend le situer dans un contexte qui nécessite d’être rappelé et mis à jour, celui de la cour de Turin où le musicien s’est établi de 1611 à 1623, période la plus fructueuse de sa carrière musicale dont l’étude s’organise autour de trois problématiques : la musique, le mécénat et l’identité nobiliaire.Il s’agit, dans un premier temps, d’étudier la circulation des musiciens, artistes, i
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27

Walzel, Robert L. "Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278713/.

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The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 192
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28

Zorluoğlu, Emel. "Empowering passivity in H.D.'s Madrigal cycle novels." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70181/.

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29

Glass, Jr Wayne Allen. "The Renaissance Italian Madrigal Comedy: A Handbook for Performance." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195880.

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The Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tr
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30

Granese, Egidio. "Nuovi percorsi esegetici tassiani." Doctoral thesis, Universita degli studi di Salerno, 2019. http://elea.unisa.it:8080/xmlui/handle/10556/4249.

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2017 - 2018<br>The PhD thesis, New Taxi Exegetical Pathways, deals first of all with the arrangement and study of bibliographic material, which was necessary for the drafting of the research project, not only in the Library and the journal fund of the University of Salerno, but also in the Vatican Apostolic Library and in the Library of the "Centro di Studi Tassiani" of Bergamo. The retrieval of these texts was fundamental for the articulation of the structure of work, which presents as an introductory part the variegated framework of poetic production, particularly lyrical, of the 16th
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31

Gómez, Avalos Juan Carlos. "Evaluación geodinámica y modelamiento geotécnico del deslizamiento de madrigal – Arequipa." Master's thesis, Universidad Nacional Mayor de San Marcos, 2017. https://hdl.handle.net/20.500.12672/6062.

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Evalúa la geodinámica del deslizamiento que afecta la localidad de Madrigal en el departamento de Arequipa y su probable reactivación de gran magnitud. Evalúa el comportamiento del suelo-subsuelo mediante estudios geofísicos en el área del deslizamiento y el grado de estabilidad actual del deslizamiento mediante métodos geodésicos y geotécnicos (ensayos de mecánica de suelos). Realiza un modelamiento geotécnico mediante el uso de elementos finitos que permitan conocer las zonas con mayor probabilidad de ser afectadas por el deslizamiento en el corto y mediano plazo. Desarrolla una propuesta de
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32

Hobson, James. "Musical antiquarianism and the madrigal revival in England, 1726-1851." Thesis, University of Bristol, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687194.

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The history of the madrigal in England is a significant one, traversing the final decades of the 16th century to the present day; as a vehicle for music, the madrigal has been an inspiration to composers and singers alike. This thesis surveys the revival of interest in the madrigal from the early 18th century to the mid-19th century; it investigates the madrigal's resurrection through a seminal period of English musical history, and examines its rise in artistic and social contexts where nexuses are established with the Gothic Revival and the re-accommodation, from the late-18th century onward
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33

Wettig, Karin. "Satztechnische Studien an den Madrigalen Carlo Gesualdos /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1990. http://catalogue.bnf.fr/ark:/12148/cb35075196v.

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34

Baumann, Annedoris. "Madrigal und Chanson auf Tasteninstrumenten poetisch-musikalische Bearbeitungen von Peter Philips /." Frankfurt am Main ; New York : P. Lang, 2003. http://catalog.hathitrust.org/api/volumes/oclc/53805478.html.

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35

Glozer, Letitia Nádas John Louis. "The madrigal in Rome music in the papal orbit, 1520-1555 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,815.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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36

Donnelly, Daniel. "The Madrigal as literary criticism: Veronese settings of Ariosto's «Orlando furioso»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32563.

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This thesis describes the importance of the amateur academy as a centre for the consumption of both literary and musical works in cinquecento Italy. By occupying a middle space between the public and private spheres, the cultural environment of the academy lends itself particularly well to the practice of analytical "readings" of texts through music. In their musical lezioni of selections from Ariosto's chivalric epic Orlando furioso, Jachet de Berchem, Vincenzo Ruffo, and Jan Nasco show themselves to be
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37

Carmant, Danielle. "Les onomatopées dans les madrigaux italiens et anglais, et dans la chanson française au XVIe siècle." Paris 4, 1993. http://www.theses.fr/1993PA040090.

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Le XIVe et le XVe siècle ont été particulièrement riches en recherches et en innovations musicales. Ils ont aspiré à une meilleure relation de la musique et du texte et au développement de l'expressivité. Ces conditions - liées à un nouvel intérêt pour la nature dans les arts - ont encouragé la création onomatopéique dans les pièces vocales profanes en Italie et en France. Par le rapport privilégié qu'elle impose entre les notes et les mots et par son caractère expressif, l'onomatopée a contribué à l'évolution du langage musical. La notion d'imitation apparait ici secondaire tant le choix des
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Schick, Hartmut. "Musikalische Einheit im Madrigal von Rore bis Monteverdi : Phänomene, Formen und Entwicklungslinien /." Tutzing : H. Schneider, 1998. http://catalogue.bnf.fr/ark:/12148/cb369686802.

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Harris, K. Paul. "Classicization in the Renaissance, the madrigal history of Jacques Arcadelt (ca. 1505-1568)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ47946.pdf.

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Garbuio, Rafael Luís 1982. "Os madrigais de Carlo Gesualdo = um estudo interpretativo à luz de seu ideal poético." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285319.

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Orientador: Carlos Fernando Fiorini<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T13:48:30Z (GMT). No. of bitstreams: 1 Garbuio_RafaelLuis_D.pdf: 7178539 bytes, checksum: e08ba43fe42a54111f067ee359bcaf79 (MD5) Previous issue date: 2015<br>Resumo: Os seis livros de madrigais italianos compostos por Carlo Gesualdo apresentam uma estreita relação entre a música e o texto. A manipulação efetuada pelo compositor nos poemas que seriam base para suas peças evidencia sua busca por um determinado formato de texto. Através da obse
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Wakelin, Emma Hilary. "'De Floridi virtuosi D'Italia' : a study of three Italian madrigal anthologies of the 1580s." Thesis, Royal Holloway, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266036.

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42

Madrigal, Mora Cristián [Verfasser], and Jörg [Akademischer Betreuer] Siekmann. "A model-driven approach for organizations in multiagent systems / Cristián Madrigal Mora. Betreuer: Jörg Siekmann." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2013. http://d-nb.info/1053682220/34.

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43

Deutsch, Catherine. "Ariosità et artificiosità dans les madrigaux de Giovanni de Macque (1581-1597)." Paris 4, 2007. http://www.theses.fr/2007PA040278.

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La thèse se propose d'examiner la période centrale de la production madrigalesque du compositeur franco flamand Giovanni de Macque, en prenant en considération cinq ouvrages publiés par l'auteur entre 1581 et 1597. L'analyse du corpus y est envisagée par le biais de deux notions en usage dans la littérature musicale de l'époque et utilisées par Macque lui-même dans l'une de ses lettres de dédicace : l'ariosità et l'artificiosità. Cette perspective analytique consent ainsi d'interroger un aspect particulièrement significatif du répertoire vocal profane italien des deux dernières décennies du Ci
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Deutsch, Catherine Billiet Frédéric Pompilio Angelo. "Ariosità et artificiosità dans les madrigaux de Giovanni de Macque (1581-1597)." Paris : Paris Sorbonne - Paris IV, 2009. http://www.theses.paris4.sorbonne.fr//these.deutsch.pdf.

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Reproduction de : Thèse de doctorat : Musicologie : Paris 4 : 2007. Reproduction de : Thèse de doctorat : Musicologie : Université de Bologne : 2007.<br>Titre provenant de l'écran-titre. Bibliogr. p. 636-663.
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Giuliani, Marco. "Identità, evoluzione ed organizzazione interna di programmi poetico-musicali nelle raccolte rinascimentali italiane di madrigali e canzonette di diversi autori." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20118/document.

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La bibliographie sur la polyphonie profane italienne des XVIe et XVIIe siècles, qui décrit aussi le répertoire des éditions de plusieurs auteurs (par rapport à des livres d'un seul compositeur) est restée jusqu'à aujourd'hui la moins connue, la moins cataloguée et la moins mise à jour malgré les efforts des nombreux chercheurs talentueux. Reléguée à une section secondaire du «Vecchio Vogel» (1892) et révisé avec autorité par Alfred Einstein (1962), sa complexité variée a été éludée par la musicologie systématique, avec quelques exceptions rares, mais partielles (Lincoln, Lewis Bernstein.) Le N
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46

Wood, Sienna M. "Chansons, madrigales and motetz a 3 parties by Noe Faignient| A Composer's Debut in 16th-Century Antwerp." Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3743677.

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<p>Chansons, madrigales & motetz a 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noe Faignient (c.1537-1578). This musical collection (henceforth CM&M a 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linkoping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient?s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the c
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Ishikawa, Yoichi. "Madrigalkompositionen im Umfeld der Habsburger Höfe um 1600 /." [Köln] : [die Universität], 1998. http://catalogue.bnf.fr/ark:/12148/cb370393499.

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Diss.--Phil. Fak.--Köln--Universität, 1992.<br>Réunit des textes de madrigaux en italien et un grand nombre d'exemples musicaux. La plupart des madrigalistes dont il est question dans ce volume sont italiens. Bibliogr. p. 159-188.
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48

Comparin, Chiara. "Antonio Gualtieri (Monselice 1574-1661) Opere sacre e profane." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424288.

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This doctoral thesis focuses on Antonio Gualtieri and his work (1574-1661). Gualtieri was a "musices magister" in San Daniele del Friuli and then in Monselice, Montagnana and Venice. After rebuilding the biography of the composer based on a systematic archival research, I transcribed in modern critical edition the corpus of his works. His entire works, as transmitted to us, are either complete or partly preserved. The critical edition is based on the identification of the sources and is accompanied by a series of analytical cards with information on the texts, music and literature. The musical
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Küster, Konrad. "«Doppelmotivik»: Textinterpretation und musikalische Form. Überlegungen an Monteverdi-Madrigalen mit und ohne Generalbaß." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37092.

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Keller, Junior Demerval Aires. ""Madrigais gauchos" de Bruno Kiefer : analise, preparação e execução a partir de uma nova edição, critica e revisada." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284096.

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Orientador: Carlos Fernando Fiorini<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T17:31:49Z (GMT). No. of bitstreams: 1 KellerJunior_DemervalAires_M.pdf: 6084358 bytes, checksum: e26a89f78ead7c534bdb4945db09125d (MD5) Previous issue date: 2009<br>Resumo: O presente trabalho tem como objeto de estudo os doze Madrigais Gaúchos para coro de câmara, compostos por Bruno Kiefer. Seu propósito é a preparação do regente e do coro para uma execução consciente. Esta pesquisa aborda a relação do compositor com a prática coral
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