Relevant bibliographies by topics / Magnificat (Music) Magnificat

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

Academic literature on the topic 'Magnificat (Music) Magnificat'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Magnificat (Music) Magnificat"

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Fitch, Fabrice. "Lassus Magnificat settings." Early Music XXIII, no. 2 (May 1995): 316–18. http://dx.doi.org/10.1093/earlyj/xxiii.2.316.

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His, Isabelle, Sixt Dietrich, Marc Honegger, and Christian Meyer. "Magnificat octo tonorum -- strasbourg, 1535." Revue de musicologie 80, no. 2 (1994): 342. http://dx.doi.org/10.2307/947073.

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Cammarota, Robert M. "On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat." Journal of Musicology 18, no. 3 (2001): 458–89. http://dx.doi.org/10.1525/jm.2001.18.3.458.

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The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.
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Mellers, Wilfrid, Arvo Part, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, and Tonu Kaljuste. "Te Deum; Silouans Song; Magnificat; Berliner Messe." Musical Times 134, no. 1810 (December 1993): 714. http://dx.doi.org/10.2307/1002947.

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Rice, Stephen. "Reconstructing Tallis's Latin Magnificat and Nunc dimittis." Early Music 33, no. 4 (November 1, 2005): 647–58. http://dx.doi.org/10.1093/em/cah155.

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Dell'Antonio, Andrew, H. Colin Slim, Ottavio Bariolla, and Clyde William Young. "Keyboard Music at Castell'Arquato; Vol. 2: Masses, Magnificat, Liturgical Works, Dances and Madrigals." Notes 51, no. 4 (June 1995): 1453. http://dx.doi.org/10.2307/899154.

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Galkina, T. A. "Music of geography: echo of the époque (review of books written by A.V. Drozdov)." Izvestiya Rossiiskoi akademii nauk. Seriya geograficheskaya, no. 4 (August 28, 2019): 137–38. http://dx.doi.org/10.31857/s2587-556620194137-138.

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A brief review of two books written by the leading researcher of the Institute of geography, A.V. Drozdov “Offertorium”, M., Association of scientific publications KMK, 2016 and “Magnificat”, M., Association of scientific publications KMK, 2018, representing a series of essays about University teachers and colleagues of the author. The essays are based on the author's personal memories and are dictated by the desire to pay tribute to his teachers and to preserve the living memory of these extraordinary people. The author also reflects on the serious changes in the life of the Russian Academy of Sciences in recent years and on the links between science and culture.
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Saunders, Steven. "The Hapsburg Court of Ferdinand II and the Messa, Magnificat et Iubilate Deo a sette chori concertati con le trombe (1621) of Giovanni Valentini." Journal of the American Musicological Society 44, no. 3 (1991): 359–403. http://dx.doi.org/10.2307/831644.

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The Messa, Magnificat et Iubilate Deo a sette chori concertati con le trombe (1621) of Giovanni Valentini, organist, and later chapel master to the Hapsburg Emperor Ferdinand II, command attention on several counts. They are cast on more expansive a scale than any music yet to appear in print, and feature what their composer claimed was "a new way of combining trumpets with voices and instruments." While only two part-books from the collection have survived, newly discovered archival sources, contemporaneous accounts of Hapsburg court ceremony, and surviving compositions from the imperial court enable us to reconstruct a context for understanding these seven-choir compositions. Valentini's works prove to be major musical statements of political ideas, and provide a rare glimpse into the functions, conventions, and ideologies of early seventeenth-century ceremonial music. More significant, they provide a window onto a music culture of unsuspected opulence, the imperial court in Vienna under Ferdinand II.
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GARCÍA GALLARDO, CRISTÓBAL L., and PAUL MURPHY. "‘THESE ARE THE TONES COMMONLY USED’: THE TONOS DE CANTO DE ÓRGANO IN SPANISH BAROQUE MUSIC THEORY." Eighteenth Century Music 13, no. 1 (February 11, 2016): 73–93. http://dx.doi.org/10.1017/s1478570615000433.

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In the course of the seventeenth and eighteenth centuries, composers and music theorists moved away from the system of the eight ecclesiastical modes that had been elaborated by medieval theorists and was later applied to polyphonic music (including the varied system extended to twelve modes in the sixteenth century) towards modern bimodal tonality. Although several modal systems coexisted within this time period, a distinct variant of the eight modes, often known in modern scholarship as the church keys, developed as a practical solution to problems associated with the performance of psalms and other recited formulas (especially the Magnificat) in alternatim practice between the choir in plainchant and the organ. A scarcity of research on this topic within investigations of Spanish music prompts us to outline an introduction to a matter so crucial to music theory of the baroque period in Spain. Thus we present an overview of the treatment of the church keys or tones in Spanish treatises over a long period of two centuries, and focus briefly on particular contributions made by individual authors.
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Wollny, Peter. "Fundstücke zur Lebensgeschichte Johann Sebastian Bachs 1744-1750." Bach-Jahrbuch 97 (February 9, 2018): 35–50. http://dx.doi.org/10.13141/bjb.v20111227.

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Der Text konstatiert eingangs einen Mangel an aussagekräftigen Hinweisen zu einem Bild von Bachs letzten Lebensjahren und versucht im Weiteren, nach einzelnen Aspekten geordnet, aus neueren Quellenfunden und Indizien einige Schlüsse zur Lebensgeschichte J. S. Bachs im genannten Zeitraum zu ziehen. Grundlage dafür bilden die Auseinandersetzung mit den in Bachs Besitz befindlichen Bibeln, Überlegungen anhand eines neu aufgefundenen Fragments der chromatischen Fantasie BWV 903 sowie Bachs letztes Schriftzeugnis in Eintragungen in die autographe Partitur des Magnificats Wq 215 seines Sohnes Carl Philipp Emanuel. Erwähnte Artikel: Hans-Joachim Schulze: Frühe Schriftzeugnisse der beiden jüngsten Bach-Söhne. BJ 1964, S. 61-69 Robin A. Leaver: Bach und die Lutherschriften seiner Bibliothek. BJ 1975, S. 124-132 Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50 Hans-Joachim Schulze: Anna Magdalena Bachs "Herzens Freündin". Neues über die Beziehungen zwischen den Familien Bach und Bose. BJ 1997, S. 151-154 Christine Blanken: Zur Werk- und Überlieferungsgeschichte des Magnificat Wq 215 von Carl Philipp Emanuel Bach. BJ 2006, S. 229-272 Tatjana Schabalina: "Texte zur Music" in Sankt Petersburg - Weitere Funde. BJ 2009, S. 11-48 Peter Wollny: Beobachtungen am Autograph der h-Moll-Messe. BJ 2009, S. 135-152 Anatoly P. Milka: Zur Datierung der H-Moll-Messe und der Kunst der Fuge. BJ 2010, S. 53-68 Peter Wollny: Zwei Bach-Funde in Mügeln. C. P. E. Bach, Picander und die Leipziger Kirchenmusik in den 1730er Jahren. BJ 2010, S. 111-152
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Dissertations / Theses on the topic "Magnificat (Music) Magnificat"

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Eaton, Frank Allen. "The origins of cantus firmus used in the English Magnificat from the fourteenth to the seventeenth centuries /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11445.

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Stanbridge, Bryan Scott. "MAGNIFICAT, FOR MEZZO-SOPRANO AND CHAMBER ENSEMBLE." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1150985354.

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BOWEN, RICHARD LEON. "TONAL STRUCTURE IN THE POLYPHONIC MAGNIFICAT OF THE SIXTEENTH CENTURY." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin983484140.

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Robertson, Tyler W. "An Exploration and Analysis of Five Modern American settings of the Magnificat and Nunc Dimittis." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1588781838113734.

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Heinichen, Johann David. "Magnificat Nr. 2 B-Dur: Für Sopran, Alt, Tenor, Baß, Chor, 2 Oboen, Streicher und Basso continuo, 1723: Partitur." Ries & Erler, 2019. https://slub.qucosa.de/id/qucosa%3A35848.

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Johann David Heinichen, 1683 in Krössuln bei Weißenfels geboren, studierte nach seiner Thomanerzeit in Leipzig, die ihn mit den führenden Musikern dieser Stadt bekannt machte, zunächst Jura und arbeitete ab 1705 in Weißenfels als Advokat. Seit 1709 wandte er sich in Leipzig ganz der Musik zu, leitete ein Collegium musicum und schrieb erste italienische Opern. Daraufhin berief ihn Herzog Moritz Wilhelm als Compositeur nach Zeitz. Der herzogliche Rat Buchta verschaffte Heinichen die Möglichkeit einer Reise nach Italien, die er gern annahm. Er begab sich 1710 nach Venedig, reiste weiter nach Rom und Florenz (hier war er kurze Zeit Reisebegleiter des Fürsten Leopold von Anhalt-Köthen) und blieb von 1713 an in Venedig. Mit Gottfried Heinrich Stölzel verkehrte er in den ersten musikalischen Instituten Venedigs, den Konservatorien, bei Antonio Vivaldi, Antonio Bifi, Angelo Gasparini und Francesco Pollarolo. Das gastfreie Haus des Kaufmanns Bianchi war ein Mittelpunkt der geselligen Musik in Venedig. Für die Hausherrin, die Cembalistin und Sängerin Angioletta Bianchi, schrieb Heinichen einen Teil seiner Kammerkantaten (siehe Denkmäler der Tonkunst Nr. 11 Kantate „La Bella iamma“), die auch der in Venedig weilende Kurprinz Friedrich August von Sachsen mit Begeisterung hörte. Diese Kantaten gaben offenbar den Ausschlag, dass der Kurprinz, nachdem er die Genehmigung hierfür bei seinem Vater Friedrich August I. (August der Starke) aus Dresden eingeholt hatte, Heinichen als sächsischen Hofkapellmeister ab dem 1. August 1716 verpflichtete.[... aus der Einleitung]
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Keller, Benjamin T. "An Historical Perspective on the Choral Music of Herbert Howells as Found in the Anglican Canticle Settings Magnificat and Nunc Dimittis for Saint Paul's Cathedral." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/303822.

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Introduction: This study provides an historical perspective on the choral music of Herbert Howells using the Anglican canticle settings. The study also offers insights into stylistic traits, liturgical function, and the relationship between the canticle settings and the specific buildings for which they were intended, as exemplified in Magnificat and Nunc Dimittis for Saint Paul's Cathedral. This study gives an overview of Howells' other choral music, formative influences on his compositional style and techniques, and presents insights into the man himself in a biographical sketch. Musical examples are quoted to support specific points made. The study is limited in scope to the choral music of Howells, although parallel references can be made in a study of the instrumental works. Three sources have been helpful in the research for the study. The Music of Herbert Howells,(1) a doctoral dissertation by Hodgson, surveys all of Howells' compositional areas, both vocal and instrumental. While such a study was long overdue and is admirable, it surveys the canticle settings only in an overview which is hardly due treatment for a major portion of the composer's output. Additional valuable data were obtained from Palmer's Herbert Howells --A Study, (2) a companion to the Howells works in the Novello catalog. While benefiting from the passage of eight additional years, this publication is brief and again in "overview" style. While touching on every facet of Howells' endeavor, the book lacks a bibliography or index, however an interesting interview serves as an "autobiographical note." The third source deserving special mention is The Oxford American Prayer Book Commentary by Shepherd. (3) Providing detailed information and historical background on all facets of Anglican worship, this source contains the entire Book of Common Prayer. Numerous periodical articles have been written about Howells and his music since 1910. These have provided the author with valuable data regarding historical perspectives and stylistic elements. Notable are "Herbert Howells and the English Revival " (4) by Ottaway and "Herbert Howells, an Analysis of a Lasting Commitment to Music for Church and Cathedral " (5) by Rusciano.
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Nicolas, Patrice. "L'oeuvre latine attribuée à Jacotin dans les sources des XVe et XVIe siècles : transcription critique et analyse." Thèse, 2011. http://hdl.handle.net/1866/5395.

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La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).
Qui était "Jacotin"? Quels sont encore les mystères de sa biographie? Quelle a été sa contribution au panorama musical de la Renaissance? Et pourquoi le connaît-on si mal, lui dont l’oeuvre – dans son ensemble stylisée et élégante – semble avoir connu de son temps un succès considérable? À l’heure actuelle, l’oeuvre attribuée à "Jacotin" est pratiquement tombée dans l’oubli et l’identité du ou des compositeurs à qui nous la devons fait toujours l’objet de spéculations parmi les spécialistes. Ainsi, ces compositions n’ont jamais retenu toute l’attention qu’elles méritent. Les chansons n’ont été éditées en notation moderne qu’en 2004 ; l’oeuvre latine, elle, n’a pas encore fait l’objet d’une édition critique, ni d’une étude. Plus généralement, l’oeuvre attribuée à "Jacotin" n’a pas été étudiée intégralement. Pourtant, celle-ci aurait beaucoup à nous apprendre des différences et interactions stylistiques entre les Pays-Bas, la France et l’Italie aux XVe et XVIe siècles, puisque les candidats au titre de compositeur(s) potentiel(s) furent actifs tant à Paris et Anvers qu’à Naples, Ferrare, Rome et Milan. L’œuvre latine attribuée à "Jacotin" témoigne en outre des différentes activités et services de son ou ses auteurs, certains motets (notamment Beati omnes qui timent Dominum, Interveniat pro rege nostro et Michael archangele) s’inscrivant possiblement dans le cadre de cérémonies qui prirent place à la cour royale d’Angleterre sous le règne d’Henry VIII (1491-1547, reg. 1509-1547), ainsi qu’à celle de France sous ceux de Louis XII (1462-1515, reg. 1498-1515) et François Ier (1494-1547, reg. 1515-1547). Les motets de "Jacotin" constituent donc des maillons essentiels dans l’histoire du genre, tant en France que, plus généralement, en Europe. Cette thèse tente dans un premier temps d’élucider le problème identitaire qui affecte "Jacotin" depuis plus de deux siècles. Ainsi, la première partie est consacrée à la prosopographie des chantres de la Renaissance clairement identifiés sous ce diminutif. De concert avec l’examen des sources musicales et l’étude de leurs schémas de diffusion, l’analyse des oeuvres elles-mêmes permet ensuite leur attribution à quatre musiciens bien distincts, à savoir : Jacques de Nieuport (v. 1435-v. 1475), Jacques Frontin (v. 1450/55-?1519), Jacques Godebrye (v. 1460-1529), et Jacques Lebel (v. 1494-v. 1556). Dans un second temps, cette thèse propose pour la première fois une transcription critique de l’oeuvre latine de "Jacotin", transcription qui vient compléter l’édition critique de ses chansons publiée par Frank Dobbins en 2004. Ainsi, l’oeuvre complète attribuée à "Jacotin" est enfin disponible en notation moderne, pour les chercheurs comme pour les interprètes.
Who was "Jacotin"? What mysteries of his biography remain? What was his contribution to the musical panorama of the sixteenth century? And why do we know so little about a figure (or figures) whose work – for the most part stylish and elegant – seem to have encountered considerable success in his time? At present, the oeuvre attributed to "Jacotin" is almost completely forgotten and the identity of the composer(s) to whom we owe it is still the subject of speculations among scholars. Thus, these compositions have never received the attention they deserve. The chansons were not edited in modern notation until 2004 ; the Latin works have not yet been the subject of a critical edition, nor of a study. More generally, the compositions attributed to "Jacotin" have not been exhaustively studied. Yet, they have much to teach us about the stylistic differences and interactions between France, the Netherlands and Italy during the fifteenth and sixteenth centuries, as the potential candidates for the title of composer(s) were employed in Paris, Antwerp, Naples, Ferrara, Rome and Milan. The Latin works ascribed to "Jacotin" also reflect their author(s) numerous activities and services, as some motets (Beati omnes qui timent Dominum, Interveniat pro rege nostro and Michael Archangele, notably) were possibly part of ceremonies that took place at the royal court of England under the reign of Henry VIII (1491-1547, r. 1509-1547), as well as that of France under the reigns of Louis XII (1462-1515, r. 1498-1515) and François I (1494-1547, r. 1515-1547). The motets of "Jacotin" constitute therefore essential links in the history of the genre, both in France and, more generally, in Europe. This study attempts first to solve the identity problem that has been affecting "Jacotin" for over two centuries. Thus, the first part is devoted to the prosopography of Renaissance singers clearly identified under this nickname. In conjunction with the examination of the musical sources and the study of their patterns of diffusion, the analysis of the Latin works then allows their attribution to four different authors, namely: Jacques de Nieuport (c. 1435-c. 1475), Jacques Frontin (c. 1450/55-?1519), Jacques Godebrye (c. 1460-1529), and Jacques Lebel (c. 1494-c. 1556). In a second step, this study proposes for the first time a critical edition of the Latin works attributed to "Jacotin", which complete the critical edition of his chansons published by Frank Dobbins in 2004. As a result, the complete work preserved under this nickname is finally available in modern notation, for both performers and scholars.
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Books on the topic "Magnificat (Music) Magnificat"

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Bruckner, Anton. Magnificat. Wien: Musikwissenschaftlicher Verlag, 1996.

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Bruce, Gebert, ed. The Magnificat: Musicians as Biblical interpreters. New York: Paulist Press, 1995.

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Orlando di Lasso's imitation magnificats for Counter-Reformation Munich. Princeton, N.J: Princeton University Press, 1994.

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Nelson, Karin. Improvisation and pedagogy through Heinrich Scheidemann's Magnificat settings. Göteborg: Department of Cultural Sciences, University of Gothenburg, 2010.

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Jenyth, Worsley, ed. Favourite hymns: 2000 years of Magnificat. London: Continuum, 2001.

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Charpentier, Marc-Antoine. Magnificat H 80, soli SATB, coro SATB e basso continuo. Stuttgart: Carus-Verlag, 1994.

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Gregory, Jill. V ozhidanii schast £i Ła: Roman. Moskva: Izd-vo AST, 1999.

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Raminsh, Imant. Magnificat for mezzo-soprano solo, SATB chorus, and orchestra (or piano). [New York]: Boosey & Hawkes, 1989.

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1632-1692, Vitali Giovanni Battista, Colonna Giovanni Paolo 1637-1695, and Bassani, Giovanni Battista, approximately 1650-1716, eds. Concerted sacred music of the Bologna school. Madison: A-R Editions, 1987.

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Nohl, Paul-Gerhard. Lateinische Kirchenmusiktexte: Geschichte, Übersetzung, Kommentar. Kassel: Bärenreiter, 1996.

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Book chapters on the topic "Magnificat (Music) Magnificat"

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Leape, Lucian L. "Spreading the Word: The Salzburg Seminar." In Making Healthcare Safe, 243–51. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71123-8_16.

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AbstractSalzburg! The name conjures up images of the annual world-famous Salzburg Festival and The Sound of Music, with its magnificent castle and the glorious singing of Julie Andrews. The birthplace of the divine Mozart.
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Papazova, Julijana. "Yugoslav Music Diplomacy in the 1960s and 1970s — the Cases of Esma Redžepova and the Band Magnifico." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 229–39. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch14.

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Papazova, Julijana. "Yugoslav Music Diplomacy in the 1960s and 1970s — the Cases of Esma Redžepova and the Band Magnifico." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 229–39. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch14.

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Cazzati, Maurizio. "MAGNIFICAT." In Vesper and Compline Music for Four Principal Voices, 148–201. Routledge, 2014. http://dx.doi.org/10.4324/9780203819579-12.

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"Magnificat." In Vesper and Compline Music for Five Principal Voices, Part I, 222–64. Routledge, 2013. http://dx.doi.org/10.4324/9780203819586-20.

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"Magnificat." In Vesper and Compline Music for Five Principal Voices, Part I, 150–201. Routledge, 2013. http://dx.doi.org/10.4324/9780203819586-18.

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Durante, Ottavio. "MAGNIFICAT OCTAVI TONI." In Vesper and Compline Music for One Principal Voice, 24–35. Routledge, 2013. http://dx.doi.org/10.4324/9781315050300-4.

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"Chorale Fantasias and Magnificat Cycles." In Heinrich Scheidemann’s Keyboard Music, 97–116. Routledge, 2017. http://dx.doi.org/10.4324/9781315093062-11.

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"Magnificat del sesto tono." In Vesper and Compline Music for Five Principal Voices, Part I, 73–95. Routledge, 2013. http://dx.doi.org/10.4324/9780203819586-14.

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O'Regan, Noel. "What Can the Organ Partitura to Tomás Luis de Victoria's Missae, Magnificat, motecta, psalmi et alia quam plurima of 1600 Tell Us about Performance Practice? 1." In Renaissance Music, 211–24. Routledge, 2017. http://dx.doi.org/10.4324/9781315088891-12.

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Conference papers on the topic "Magnificat (Music) Magnificat"

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Ray, G. C., A. Ya Kaplan, and E. Jovanov. "Morphological Variations in ECG During Music-Induced Change in Consciousness." In Proceedings of the 19th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. 'Magnificent Milestones and Emerging Opportunities in Medical Engineering' (Cat. No.97CH36136). IEEE, 1997. http://dx.doi.org/10.1109/iembs.1997.754511.

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