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Dissertations / Theses on the topic 'Messe de la Pentecote'

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Published: 4 June 2021
Last updated: 9 February 2022

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1

Park, Shi-Ae. "The Messe de la Pentecote of Olivier Messiaen." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195673.

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2

Kaya, Ahmet. "Strategische Allianzen in der deutschen Messebranche." [S.l. : s.n.], 2007. http://nbn-resolving.de/urn:nbn:de:bsz:352-opus-22736.

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3

Steinrücken, Anja. "Kostenfalle Messe? erfolgreiche Kontrolle von Messeauftritten." Saarbrücken VDM, Müller, 2004. http://deposit.d-nb.de/cgi-bin/dokserv?id=2866183&prov=M&dok_var=1&dok_ext=htm.

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4

Foster, Korre D. "Marc-Antoine Charpentier's Messe pour Monsieur Mauroy." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/341.

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Marc-Antoine Charpentier's setting of the Messe pour Monsieur Mauroy is the only composition in his oeuvre which was dedicated to a particular person. Each of Charpentier's twelve mass settings is unique; this mass setting is his longest at over 1,500 measures. Charpentier masses are diverse: one composition for women's voices, a mass for instruments only, a Christmas mass, as well as settings of the Requiem text. This document traces the history of the missa concertata up until the time of Charpentier. It examines the intricacies of Charpentier's compositional process: form, melody, harmony, and self-borrowing. This paper also analyzes recent findings as to the pronunciation of Latin in France during this time period. It also explores the correlations between the Mass and oration - the understanding and implementation of rhetoric. Musical examples from the Mass, period treatises, and phonetic transcriptions of French-Latin are a part of this document.
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5

Helmich, Heike. "Dynamik im Messe-Marketing der deutschen Investitionsgüterindustrie /." Hamburg : Kovač, 1998. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=007960069&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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6

Patuzzi, Stefano <1972&gt. "Le messe 'mantovane' di Giovanni Pierluigi da Palestrina." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/538/.

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7

Rolland-Cabot, Romy. "Problèmes de santé publique en république de Vnuatu : aspects actuels de la pathologie sur l'île de Pentecôte." Montpellier 1, 1991. http://www.theses.fr/1991MON11137.

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8

Ekenberg, Anders. "Cur Cantatur? : die Funktionen des liturgischen Gesanges nach den Autoren der Karolingerzeit /." Stockholm : Almqvist och Wiksell, 1987. http://catalogue.bnf.fr/ark:/12148/cb37017521k.

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9

Ickstadt, Peter. "Die Messen Joseph Haydns Studien zu Form und Verhältnis von Text und Musik." Hildesheim Zürich New York, NY Olms, 2008. http://d-nb.info/995403791/04.

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10

Johansson, Daniel, and Nicklas Bengtsson. "The silence at trade shows: : A case study at Hannover Messe." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Marketing and Logistics, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-15276.

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This thesis studies the non-verbal communication such as the body language in the context of a trade show. The non-verbal communication is one of the primary conveyors of messages and trade shows are one of the major channels were firms attract new customers. However the combination of trade shows and non-verbal communication is overlooked. The method consists of interviews with visitors and observations of the booths and the visitors. The setting was chosen as the annual Hannover Messe were five booths of Swedish firms were studied. The result indicates that firms can further improve their body language. Suggested improvements involve to not having the sales representative work in the booth. This is remarked as a taboo by authors within the area; still this action commonly occurs.  The booth design plays a prominent role in the visitor interactions so does the staffing. The way to approach a visitor is not differing much between the booths in the study however there are three possible ways to physically approach visitors as a sales representative. The best way has not been established and the visitor interviews gave a mixed result regarding this matter. Although the best way is not found all observed booths missed out on dialogs with prospective customers much due to that full attention was not directed towards the visitors. The authors want to emphasis on the adaptation towards visitor as an important pawn in the exhibiting, some sales representatives automatically does this.
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11

Korb, Simone. "Institutioneller Wandel? eine neoinstitutionalistische Betrachtung am Beispiel der Neuen Messe München." Berlin Köster, 2008. http://d-nb.info/990669971/04.

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12

Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.

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189 p.
Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.
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13

Fuchs, Nina. "Messen im Marketing-Mix Faktoren für einen erfolgreichen Messeauftritt." Saarbrücken VDM, Müller, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2874396&prov=M&dok_var=1&dok_ext=htm.

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14

Reidel, Alexandra-Isabel. "Die Grenzen der kommunalen Planungshoheit am Beispiel der Neuen Messe in Stuttgart /." Hamburg : Kovač, 2006. http://www.verlagdrkovac.de/3-8300-2435-5.htm.

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15

Lessoil-Daelman, Marcelle. "Une approche synoptique des motifs et des modules dans la messe parodique /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.

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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models.
The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
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Reidel, Alexandra-Isabel. "Die Grenzen der kommunalen Planungshoheit am Beispiel der Neuen Messe in Stuttgart." Hamburg Kovač, 2005. http://www.verlagdrkovac.de/3-8300-2435-5.htm.

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17

Fuchs, Nina. "Messen im Marketing-Mix : Faktoren für einen erfolgreichen Messeauftritt /." Saarbrücken : VDM-Verl. Müller, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2874396&prov=M&dok_var=1&dok_ext=htm.

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18

Simon, Wolfgang. "Die Messopfertheologie Martin Luthers : Voeaussetzung, Genese, Gestalt und Rezeption /." Tübingen : Mohr Siebeck, 2003. http://catalogue.bnf.fr/ark:/12148/cb38889484n.

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Texte remanié de: Diss.--Theologische Fakultät--Erlangen--Friedrich-Alexander-Universität, 2001. Titre de soutenance : Sacrificium Christi : Voraussetzung, Genese, Gestalt und Rezeption der Messopfertheologie Martin Luthers.
Bibliogr. p. 715-748. Index.
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19

Fritsche, Christiane. "Schaufenster des "Wirtschaftswunders" und Brückenschlag nach Osten : westdeutsche Industriemessen und Messebeteiligungen im Kalten Krieg ; (1946-1973) /." München : Meidenbauer, 2008. http://d-nb.info/990291901/04.

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20

Zanger, Cornelia, Kerstin Klaus, and Achim Kießig. "Fachkräfte in der Event- und Messebranche." Technische Universität Chemnitz, 2019. https://monarch.qucosa.de/id/qucosa%3A32743.

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Im Rahmen der vorliegenden Studie werden zentrale Aspekte der Fachkräftesituation in der Event- und Messebranche betrachtet. Dabei geht es um die Identifikation relevanter Trends der Branche, die künftige Anforderungen an Mitarbeiter markieren und somit zentrale Herausforderungen im Hinblick auf die Fachkräfteentwicklung bilden. Gleichermaßen werden aktuelle Anforderungen an Fachkräfte formuliert.
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21

Rehak, Martin. "Der ausserordentliche Gebrauch der alten Form des römischen Ritus kirchenrechtliche Skizzen zum Motu Proprio Summorum Pontificum vom 07.07.2007." St. Ottilien EOS-Verl, 2009. http://d-nb.info/999628607/04.

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22

Gill, Sarah M. "The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2249/.

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Hector Berlioz's Messe solennelle, his first publicly performed work, was important to his establishment in Paris as a composer. Although he later destroyed the Mass, he reused parts of the Resurrexit movement in three of his later works: Benvenuto Cellini (1836), the Grand messe des morts (1837), and the Te Deum (1849). This study examines the Resurrexit and its subsequent borrowings. In each instance that Berlioz borrowed from the Resurrexit, he extracted large sections and placed them in the context of later works. Each time that borrowing occurred, Berlioz constructed the surrounding music so that portions from the Resurrexit would fit stylistically and a seamlessly into the texture. In each borrowing, he left the melody unaltered, changing harmony and orchestration instead. This pattern of borrowing demonstrates that Berlioz developed his concept of melody early in his career, and that his method of self-borrowing was consistent in each subsequent use of the Resurrexit.
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23

Broderick, Amber E. "Grande messe des morts: Hector Berlioz's Romantic Interpretation of the Roman Catholic Requiem Tradition." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345136918.

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24

Messe, Christian [Verfasser], and Bernd [Akademischer Betreuer] Kröplin. "Thermostructural problem of hypersonic airbreathing flight systems : modeling and simulation / Christian Messe ; Betreuer: Bernd Kröplin." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2017. http://d-nb.info/1147759464/34.

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25

Levert, Florence. "Revitalisation festive et conflits de mémoire : Saint-Pierre des marins et Messe-Souvenir de Fécamp." Paris 10, 2008. http://www.theses.fr/2008PA100141.

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À Fécamp, à la fin du XIXe siècle, les armateurs à la pêche terre-neuvière se constituent en une classe sociale distincte. Elle s’organise en créant notamment des syndicats professionnels, des sociétés de charité, ainsi que la fête de la Saint-Pierre. Célébrée peu de temps avant les campagnes de pêche, la Saint-Pierre rassemble très largement : propriétaires, pêcheurs, représentants des pouvoirs publics, clergé, etc. Consensuelle, elle construit les appartenances, propose des représentations et favorise le maintien des hiérarchies et de la structure sociale. Elle contribue à une puissante domination qui fait accepter aux marins jusqu’à l’augure de leur propre disparition en mer. Aujourd’hui, alors qu’on ne part plus pêcher la morue et qu’une nouvelle économie basée sur la passé maritime fait florès, d’anciens Terre-Neuvas se sont regroupés avec la volonté de rééditer leur fête. La Messe-Souvenir respecte les rituels de la Saint-Pierre. Il s’agit pour les anciens d’apporter la preuve qu’ils en furent, disqualifiant, de fait, tout autre modalité du rapport à un passé devenu capital. Faisant spectacle des rites autrefois réalisés, la Messe-Souvenir a des fonctions que la Saint-Pierre, pourtant présentée comme son modèle, n’avait pas. C’est même sur la base d’une fidélité revendiquée aux rituels anciens que réside la véritable singularité de la fête actuelle. La Messe-Souvenir qui répète les rituels de la Saint-Pierre - fête sage - apparaît dans la violence d’une mémoire qui va disparaître, et donne au marin, dans la perspective de sa mort prochaine, un statut social qu’il n’a jamais eu. Jusqu’à ce que la gestion de la mémoire lui échappe
At the end of the 19th century in Fécamp, the Newfoundland fishing shipowners formed a separate social class that was organized in unions and charitable societies. They also created the Saint-Pierre Feast. Celebrated just before the fishing season, the Saint-Pierre Feast gathered many different groupings: shipowners, fishermen, state representatives, clergy members and so on. In a spirit of unity, this Feast built a sense of belonging, a collective memory and helped to maintain the social structure and hierarchies. It also created a social domination which was able to make the seamen accept many things, even the idea of their own death at sea. Today, even though cod fishing has disappeared in Fécamp and a new economy is developing based on the maritime past, former Newfoundlanders are gathering in order to make their Feast live again. The commemoration respects the Saint-Pierre feast rituals. It allows the elders to prove that they were there and are the only legitimate owners of this past now considered as a real capital. Performing the rites of yesteryear, the commemoration possesses functions that the Saint-Pierre Feast did not. We can say that the singularity of the current Feast lies in its claim of trustworthiness to the former rituals. The commemoration, that repeats the non-subversive Saint-Pierre feast rituals, creates a feeling of violence because of the disappearing memory and so gives the seaman, with the prospect of his coming death, a social status he never had before. Until this memory slips from his clutches
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Kiuchi, Mariko. "La Grande Messe des morts de Hector Berlioz (1837) : son langage musical et sa stratégie rhétorique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL040.

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La Grande Messe des morts d’Hector Berlioz se remarque entre autres choses par la variété de styles et le changement rapide de climats expressifs. Son écriture novatrice éveille l’émotion du public en cultivant de nombreux effets d’inattendus que la presse de l’époque a soulignés lors de la création. Comment caractériser les différents styles musicaux sur lesquels le Requiem s’articule ? Comment le compositeur captive et éveille-t-il l’émotion de l’auditeur ? Comment l’auditeur perçoit-il la stratégie déployée par le compositeur ? La présente thèse a pour but d’éclaircir le fonctionnement des matériaux musicaux variés chez Berlioz, le mécanisme de la communication compositeur-auditeur et sa conception de la musique « sacrée ». L’étude de la rhétoricité du Requiem est fondée sur quatre enquêtes successives fondées sur la théorie de la communication musicale de Jean Molino et Jean-Jacques Nattiez et l’analyse de la rhétoricité selon Jean-Pierre Bartoli : 1. étude du processus génétique de la composition (analyse de la poïétique externe) ; 2. étude de la critique de la presse musicale (analyse de l’esthésique externe) ; 3. étude des principes du développement et forme narrative (analyse de la poïétique inductive) ; 4. étude des jeux sur l’attente ménagés par le compositeur (analyse de l’esthésique inductive). De cette recherche, on conclut que Berlioz réussit à concilier l’intensité dramatique et la religiosité à travers un certain art du discours, qui maintient l’unité de l’œuvre dans la variété de ses climats, des topiques exploités et des styles d’écriture
Hector Berlioz’s Grande Messe des morts has been particularly recognized by its variety of styles and the rapid change of expressive atmospheres. His innovative style arouses public’s emotion by cultivating a great number of unexpected effects that the music press in time of its first performance emphasized. How can be characterized various musical styles which connect with one another in this Requiem? How does the composer behave to attract the audience and to arouse their emotion? How did the audience feel composer’s strategy which was deployed in this work? This thesis aims to make clear the function of various musical materials in his composition, a communication mechanism established between composer and audience, and his conception of the “sacred” music. A study of rhetoric in his Requiem is founded on four successive analyses, inspired by Jean Molino and Jean-Jacques Nattiez’s musical communication theory and Jean-Pierre Bartoli’s rhetoric analysis: 1. study of the creative process of the composition (analysis of the external poïétique); 2. study of the music criticism of press articles (analysis of the external esthésique); 3. study of the principal of the music’s development and its formal narrativity (analysis of the inductive poïétique); 4. study of the tactics on audience’s expectation handled by the composer (analysis of the inductive poïétique). This study concluded that Berlioz succeeded in managing the dramatic intensity and the religiousness through a certain art of discourse, which maintains the work’s unity with a variety of atmospheres, musical topics and styles
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27

Scheidegger-Schmidmeister, Daniela. "Die Eucharistiefeier aus Sicht der analytischen Psychologie nach C.G. Jung /." Zürich : Hochschule für Angewandte Psychologie, 2006. http://www.zhaw.ch/fileadmin/user_upload/psychologie/Downloads/Bibliothek/Arbeiten/D/d1929.pdf.

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28

Robison, Jennaya Jorie. "Choral Pivoting Solutions for Tessitura-Related Vocal Fatigue in Frank Martin's Messe pour double choeur a cappella." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293589.

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The purpose of this study is to investigate the management of tessitura in the choir though the use of choral pivoting in Frank Martin's Messe pour double choeur a cappella (1922), since the ranges of a vast number of choral works extend beyond the limits of what the American Academy of Teacher's of Singing have deemed "best" and "safest." According to the American Academy of Teachers of Singing, many great teachers of singing hesitate to allow their "pupils to participate in choral singing because experience has proven that, due to the unusually high tessituras dominating the arrangements of many choral works, harm is done to the voice. "This study includes an in-depth summary of the anatomy and physiology of the vocal mechanism in specific registers and the potential for harm, vocal strain, or vocal fatigue when singers must sing in an extremely high or low tessitura for an extended amount of time. Three methods of vocal pivoting are examined and explanations given as to how choral pivoting may be applied in Messe pour double choeur a cappella.
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Uhlendorf, Martin [Verfasser]. "Die deutsche Messe- und Ausstellungswirtschaft : Räumliche Standortstruktur- bzw. -entwicklung, Standortbewertung am Beispiel der Messestadt Frankfurt / Martin Uhlendorf." Hamburg : Diplom.de, 2007. http://d-nb.info/1117642968/34.

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Reynaud-Mauriange, Jacqueline. "Le comique de Nanni Moretti étudié à travers les films : Bianca, La messe est finie, Palombella rossa." Toulouse 2, 1995. http://www.theses.fr/1995TOU20031.

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Cette traversee du comique de moretti propose une grille de lecture visant a en mesurer la complexite ; centre sur le probleme de la communication, son cinema s'interroge finalement sur le role que devrait jouer les moyens audio-visuels dans notre societe. Cette analyse s'articule en cinq chapitres. Le premier, consacre a l'heritage comique italien, montre comment le rire est une propension de l'italien et met en evidence les influences qu'ont eu la commedia dell'arte , le neorealisme, la comedie italienne et surtout les cineastes des annees 60 dans la maturation cinematographique de nanni moretti. La seconde partie cherche les fondements tragiques de ce comique a travers les raisons de la souffrance existentielle du personnage : elle est due tant a sa singularite de narcissique, de schizophrene, et de moralisateur rigide, qu'a la societe qui n'apporte plus le bonheur a l'homme en raison de l'eclatement des valeurs dans le couple, la famille, l'ecole, l'information. Malgre ses tentatives de se proteger, le personnage vit une tragedie. Le troisieme chapitre traite de l'expression comique du personnage a travers sa personnalite, son comportement et les innombrables gags qu'il engendre. La quatrieme axee sur la nature de ce comique etudie les procedes (parodie, ironie, satire, humour) , l'essence (douleur, soustraction, inattendu, transgression) et les specificites de ce comique (burlesque, fantastique et surrealiste). Le cinquieme volet intitule fonction et signification examine les rapports cineaste-acteur, personnage -spectateur, cineaste-personnage pour s'interesser finalement au role du cineaste et a la signification du film comme oeuvre d'art
This going through nanni moretti's humour proposes a reading grid aiming at assessing its complexity; focused on the problem of communication his cinema questions the part audio-vusial techniques should play in our society. This analysis comes in five chapters. The first one, dealing with the inheritance of italian humour, shows how much the italians take pleasure in laughing and highlights how much la commedia dell'arte, neorealism, italian comedy, and above all film makers of the sixties have influenced nanni moretti's cinematographic maturity. The second part seeks the tragical basis of this humour through the reasons for the character's existentialist suffering : it is due as much to his narcissistic schizophrenic particularity, to his being an inflexible moralizer as to society no longer bringing happiness to mankind because of the breaking-down of couple family school and news values. Despite his trying to protect himself, the charact er undergoes a tragedy. Chapter three deals with the character's comical expression through his personality, his behaviour as well as through the countless gags he generates. The fourth one centred on the nature of his humour studies the method (parody, irony, s atire, humour) the essence (pain, substraction, surprise, transgression) and the specificities of this humour (burlesque , fantastic and surrealist). Section five called fonction and meaning looks into the following relations : film marker a ctor, character spectator, film makar character to deal finally with the film maker's role and the meaning of the film materpiece
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Urchueguía, Cristina. "Die mehrstimmige Messe im "Goldenen Jahrhundert" : Überliefering und Repertoirebildung in Quellen aus Spanien und Portugal (ca. 1490-1630) /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb39034611h.

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Nadeau, Nils Andre. ""Pro sonorum diversitate vel novitate" : the singing of scripture in the Hispano-Visigothic votive masses /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122178m.

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Steinebach, Mario, Christine Häckel, and Sabine Kaiser. "TU-Spektrum 2/1995, Magazin der Technischen Universität Chemnitz-Zwickau." Universitätsbibliothek Chemnitz, 2002. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200201469.

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34

Linklater, Christina. "Guillaume de Machaut's "Messe de Nostre Dame" in the context of fourteenth-century polyphonic music for the Mass Ordinary." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9317.

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It is widely held in the scholarly literature of music history that the Messe de Nostre Dame of Guillaume de Machaut is unique. While several other examples of polyphonic settings of the Mass Ordinary dating from approximately the same era do survive, they are distinct from Machaut's Mass in at least two respects. The Messe de Nostre Dame is attributed to a single, named composer, whereas most fourteenth-century Mass cycles are anonymous, or are thought to have been assembled from the repertories of several composers, or both. Further, few contemporary medieval cycles are copied as such, preserving instead the traditional organization of the kyriale, in which several Kyrie movements are grouped in one section, followed by a group of Gloria movements, and so on; Machaut's Mass, however, survives complete in five manuscript versions, all of which present its six movements in uninterrupted succession. Despite the comparative difficulty of assembling cycles from the largely anonymous and physically separate movements described above, though, a convincing case may be made (and has been) for the existence of several pre-modern polyphonic cycles besides the Messe de Nostre Dame. (Abstract shortened by UMI.)
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35

Hartmann, Anselm. "Kunst und Kirche : Studien zum Messenschaffen von Franz Liszt /." Regensburg : G. Bosse, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955765h.

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Cassia, Cristina. "Les oeuvres attribuées à Hesdin." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/246226.

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Une trentaine d’œuvres attribuées à Hesdin (messes, motets, Magnificat et chansons) figurent dans des nombreuses sources du XVIe siècle, provenant principalement de France, Italie et anciens Pays-Bas. Pourtant, la vie et la carrière de ce compositeur demeurent inconnues de nos jours, aucune des multiples hypothèses concernant l’identité de Hesdin ne reposant sur des éléments concrets. Cette thèse se propose d’offrir un panorama le plus complet possible du cas Hesdin, à travers l’étude de ses œuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L’étude stylistique des œuvres montre d’une part les rapports multiples avec celles d’autres compositeurs actifs dans la première moitié du XVIe siècle, notamment Josquin, Willaert et Gombert ;d’autre part, elle suggère que le toponyme « Hesdin » pourrait cacher deux compositeurs distincts. La partie finale de la thèse est consacrée à l’édition critique de tout le corpus attribué à Hesdin.
About thirty compositions attributed to Hesdin (masses, motets, Magnificat and chansons) are included in plenty of musical sources copied or edited during the sixteenth-century, in France, Italy and the Netherlands. However, nothing is known about the biography and the career of this composer. Among the many hypothesis proposed on Hesdin’s identity, none is based on objectives informations. This study attemps to offer an overview as comprehensive as possible of Hesdin, through the study of his compositions, of the diffusion of the musical sources and of the reception of Hesdin’s music during the centuries. The style of his music reveals clear links to the compositions of other composers of the first half of the sixteenth-century, Josquin, Willaert and Gombert above all. Moreover, it shows that the toponym « Hesdin » may possibly hide two different composers.The final section of this study is devoted to the critical edition of the whole corpus ascribed to Hesdin.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
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Wahle, Stephan. "Gottes-Gedenken Untersuchungen zum anamnetischen Gehalt christlicher und jüdischer Liturgie." Innsbruck Wien Tyrolia-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2715732&prov=M&dok_var=1&dok_ext=htm.

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Wahle, Stephan. "Gottes Gedenken : Untersuchung zum anamnetischen Gehalt christlicher und jüdischer Liturgie /." Innsbruck [u.a.] : Tyrolia, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2715732&prov=M&dok_var=1&dok_ext=htm.

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Rogers, Brent. "The Messe de Requiem op. 54 of Camille Saint-Saëns: An Amalgamation of Contrasting Stylistic Trends in Requiem Composition in Nineteenth-Century Paris." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/581253.

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Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.
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Hammond, John Edward. "The music for Rameau's memorial services : a study and critical edition of the Messe des morts by Jean Gilles, as performed in 1764." Thesis, University of Hull, 2010. http://hydra.hull.ac.uk/resources/hull:10425.

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This thesis focuses on alterations made in 1764 to the Messe des morts by Jean Gilles for performances at memorial services held in Paris to honour Jean-Philippe Rameau. For this commemoration two extracts from Rameau’s opera Castor et Pollux were set to sacred texts and included in the Messe, and a third addition was made, the source of which has been traced to an aria by the Italian composer Domenico Alberti. The suitability of these contrafacta is discussed both from a musical and a liturgical viewpoint. New parts for muffled drums and for orchestral horns were added to the Messe, and the role of the bassoons was expanded. These and other alterations, such as cuts, rhythmic changes and strengthening of parts, are examined by comparing the 1764 version of the Messe with the published critical edition of an earlier version. A review of extant manuscripts reveals that ideas for some of the alterations in 1764 may have originated in an arrangement of the Introit of the Messe, made by Joseph-Nicolas-Pancrace Royer, which was first performed in Paris in November 1750. On this occasion only the Introit was performed, and not the complete work, as previously reported. Discovered with two sets of performing parts for the Messe des morts were parts for a setting of the Dies irae by Louis Homet, suggesting that this piece was performed with Gilles’ composition when required. In an attempt to show how widely the Messe was used in France, an appendix containing details of performances has been compiled from various sources. Part II of the thesis contains the first critical edition of the 1764 version of the Messe des morts, together with a section on aspects of performance.
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Laflèche, Chrystine. "La "participation active des fidèles à la messe" : réception et mise en application par deux groupes de musiciens au Canada français (1950-1954)." Master's thesis, Université Laval, 2001. http://hdl.handle.net/20.500.11794/42789.

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La musique liturgique est au coeur de ce mémoire. Elle en constitue même le sujet, sous l’angle de la participation active des fidèles à la messe. Cette notion apparue au début du XXe siècle dans les documents officiels de l’Église catholique fera du chant liturgique un important instrument de la pastorale liturgique. Suite à la parution de l’encyclique Mediator Dei en 1947, deux mouvements de musique liturgique se distinguent nettement au Canada français : le mouvement grégorien et celui du cantique populaire. Ces deux mouvements sont l’objet de notre étude. Il s’agit donc d’analyser le répertoire de chacun de ces mouvements sous l’angle de la participation active des fidèle à la messe. Liturgie, musique et participation active représentent les principaux éléments qui composent ce mémoire. Les trois premiers chapitres en dégagent les principales composantes ainsi que leurs divers aspects et le dernier chapitre présente les groupes de musiciens qui représentent les deux mouvements tout en mettant en relief les caractéristiques de leur répertoire respectif. Le résultat de cette analyse démontre que la situation actuelle est grandement tributaire de la réalité de cette époque et permet également de mieux cerner la cause des problèmes actuels.
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Kloetzer, Laure. "Analyse de l'homélie de la messe dominicale : développement de l'activité langagière et conflits de métier : la part de dieu, la part de l'homme." Paris, CNAM, 2008. http://www.theses.fr/2008CNAM0608.

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Cette thèse analyse une activité méconnue, la prédication du prêtre catholique dans l’homélie du dimanche. Deux difficultés théoriques et méthodologiques de l’analyse du travail sont au cœur de la thèse : quelle est la nature de l’activité analysée, donc quels sont les rapports entre le concept de l’activité sous-jacent et les méthodologies d’intervention mises en place ? Quels rapports peut-on établir entre le travail et les discours qu’il suscite de la part des sujets ? Les deux questions ne sont pas indépendantes, les discours produits étant évidemment liés au cadre de production proposé par les chercheurs. L’homélie est ici analysée grâce à la méthodologie des Auto-Confrontations Croisées, dans la perspective des théories historico-culturelles de l’activité. Le cadre de production des données est dialogique et ancré dans un collectif de recherche associé impliqué dans la co-analyse. Nous conceptualisons le langage comme activité langagière, et mobilisons les travaux d’analyse de l’activité interlocutoire développés par K. Kostulski au sein de l’équipe Clinique de l’activité. Nous mobilisons deux types de matériaux empiriques. L’analyse interlocutoire de deux homélies permet d’analyser l’homélie comme activité de production d’Objets de Discours Médiateurs dont les significations se développent par migrations successives entre deux univers de référence. L’analyse interlocutoire de trois séquences d’Auto-Confrontation Croisée met en évidence un conflit central de l’activité, la nécessité pour le prêtre de construire une posture énonciative en tension entre une parole personnelle, humaine, incarnée, et une parole institutionnelle, la parole de l’Eglise qui l’encadre. Ce conflit du réel de l’activité permet de comprendre autrement la variété des façons de faire observées. Il oriente en outre les créations instrumentales des sujets. En conclusion, la thèse souligne ainsi la valeur épistémique de l’intervention
This thesis analyzes an underknown activity, the preaching of Catholic priests during the Sunday mess. Two theoretical and methodological problems are at the heart of this thesis : which is the nature of the analyzed activity, therefore which are the relations between the underlying concept of the activity and the investigation methodologies built ? And : which relations can we make between the work itself and the discourses about the work produced by the subjects and collected by the researcher ? These two problems are not to be dealt with independantly, as produced discourses are of course linked to the research framework. We analyze here the Sunday homily thanks to the methodology of Cross Self-Confrontation developped by the team Clinic of Activity following the perspectives of cultural-historical activity theories. The research framework is dialogical and implies tight participation of a group of professionnals associated to the co-analysis of their activity. We also conceptualize language as an activity and build on the analysis of interlocutory activity developped by K. Kostolski in the team « Clinic of Activity ». We analyze two kinds of empirical data. The interlocutory analysis of two homilies enables us to describe the homily as an activity of production of Mediating Objects of Discourse whose significations develop themselves by step-by-step migrations between two worlds of references (the social and the biblical ones). The interlocutory analysis of three sequences of Cross Self-Confrontation enlights a conflict critical for the activity : the need for the priest to sustain a double enonciative position, in tension between a human, personal, incorporated speech and an institutional one (whose of the Church). This trade conflict which organizes the real activity of the subjects enables us to understand differently the variety of ways to do observed and analyzed. It also impacts the instrumental creations of the subjects. To conclude, the thesis underline the epistemic value of developmental intervention
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Ahola, Eeva-Katri. "Producing experience in marketplace encounters : a study of consumption experiences in art exhibitions and trade fairs /." Helsinki : Helsinki School of Economics, 2007. http://www.loc.gov/catdir/toc/fy0802/2007438387.html.

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Weigl, Norbert. "Liturgische Predigt seit dem Zweiten Vatikanischen Konzil eine Untersuchung zur Messfeier in der Sonntagspredigt anhand der Zeitschrift "Der Prediger und Katechet"." Regensburg Pustet, 2008. http://d-nb.info/992329469/04.

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Schuster, Angelika [Verfasser]. "Das Kreuzigungsmotiv in der Malerei nach 1945 in Deutschland: Fallstudien zu Markus Lüpertz, Bernhard Heisig, Martin Kippenberger und Jonathan Messe / Angelika Schuster. Universität Zürich." Hamburg : Dr. Angelika Maupilé, 2010. http://d-nb.info/1071939904/34.

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Häfner, Klaus. "Verschollene Quellen der Bachschen Messen." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37233.

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Johnson, Dirk. "A Conductor’s Guide to the Masses of Charles Gounod." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249973805.

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LaBarr, Cameron Frederick. "Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84235/.

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British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
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Dahmen, Hrosvith. "Zur Prager-Dresdner Kirchenmusik unter besonderer Berücksichtigung der Messen von František Xaver Brixi." Institut zur Erforschung und Erschließung der Alten Musik in Dresden, 2012. https://slub.qucosa.de/id/qucosa%3A2187.

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Dahmen, Hrosvith. "Zur Prager-Dresdner Kirchenmusik unter besonderer Berücksichtigung der Messen von František Xaver Brixi." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-88241.

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