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Relevant bibliographies by topics / Orlandus Lassus

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Academic literature on the topic 'Orlandus Lassus'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Orlandus Lassus"

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BREWER, CHARLES E. "Plato, Aristotle, Paris and Helen at the Last Judgement: the legacy ofAudi tellus, audi magni maris limbus." Plainsong and Medieval Music 27, no. 2 (2018): 101–20. http://dx.doi.org/10.1017/s0961137118000074.

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ABSTRACTThe twenty-four stanzaabecedarium, beginningAudi tellus, audi magni maris limbus(Montpellier, Bibliothèque de la ville, 6), stands at the beginning of a long tradition of similar songs of judgement. A closer study of the sources provides for a deeper understanding of the transformation of the original song into a versicle to theLibera meand by the thirteenth century the first two lines of the song were transformed into the beginning of an unusual litany asking ‘Ubi sunt’, which was again most often described in the rubrics as a trope to theLibera me, particularly on All Souls Day. Here, however, an unusual and varying cast of characters enter the text of the song and the liturgy, including classical philosophers, such as Plato and Aristotle, historic figures, such as Paris and Helen, and even the biblical heroes Samson and King David. By the later Middle Ages, the trope had been further transformed into a devotional song and was especially prominent in sources associated with the cloisters of theDevotio modernaand later in polyphonic settings by Caspar Othmayr, Jacobus Gallus and Orlandus Lassus.

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Phillips, Peter, and Orlandus Lassus. "Great Men Think Alike? On the 400th Anniversary of His Death, Peter Phillips Re-Assesses the Work of Orlandus Lassus." Musical Times 135, no. 1816 (1994): 357. http://dx.doi.org/10.2307/1003223.

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Weller, Philip. "‘Notre divin Orlande’: Lassus in his time and in ours." Early Music XXVII, no. 3 (1999): 493–99. http://dx.doi.org/10.1093/earlyj/xxvii.3.493.

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4

Boetticher, Wolfgang. "Uber einige in jungerer Zeit hinzugewonnene Satze Orlando di Lassos." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 39 (1985): 74. http://dx.doi.org/10.2307/3686972.

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Just, Martin. "Deutschland um 1600." Schütz-Jahrbuch 26 (August 24, 2017): 89–107. http://dx.doi.org/10.13141/sjb.v2004945.

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Dargestellt werden geistliche Werke in lateinischer und deutscher Sprache, die den Boden für Heinrich Schütz bereiteten. Die Entwicklung von Lied und Motette im deutschen Sprachgebiet des 16. Jahrhunderts, die in die allgemeine Kompositionsgeschichte eingebettet ist: in die Homogenisierung des musikalischen Satzes und den zunehmenden Einfluss der Sprache auf die Satzgestalt, wird an einer Reihe von Satztypen und Gattungen im Überblick skizziert (Tenorlied, Liedmotette, Bicinium und Tricinium, Psalmen, Evangelien, Passionen und Historien). Ein paar Beispiele, etwas Orlando di Lassos <In me transierunt>, Georg Ottos Bicinium <Stans a longe>, dienen der Veranschaulichung im Einzelnen. (Autor) Quelle: Bibliographie des Musikschrifttums online

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Eichner, Barbara. "Musical diplomacy in a divided city: the Lassus-Mayrhofer manuscripts." Early Music 48, no. 1 (2020): 55–74. http://dx.doi.org/10.1093/em/caz091.

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Abstract Gifts of music manuscripts continued to serve an important diplomatic function well into the 16th century. This article investigates the production, content and function of two choirbooks prepared by the Benedictine monk Ambrosius Mayrhofer of St Emmeram in Regensburg, which mainly contain sacred music by Orlande de Lassus. They were dedicated to Abbot Jakob Köplin of St Ulrich and Afra in Augsburg (1568) and the city council of Regensburg (1567) respectively. The programmatic opening motet and accompanying illuminations of the Regensburg choirbook suggest that it functioned as a politically motivated gift that helped to ‘harmonize’ the frictions within a city divided by ancient rights and new religious allegiances: Regensburg was a free imperial city with a predominantly Protestant population and council, but also harboured an episcopal see and several nunneries and monasteries (among them St Emmeram), with the Catholic Dukes of Bavaria as close and powerful neighbours. Mayrhofer’s music manuscript projects a conciliatory message that was particularly timely in the late 1560s, when the permission of Eucharistic communion under both kinds (with consecrated bread and wine) offered a short-lived hope of religious compromise.

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Veldhorst, Natascha. "PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY." Early Music History 27 (October 2008): 217–86. http://dx.doi.org/10.1017/s0261127908000326.

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Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.

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Schmid, Bernhold. "Das „Gaudeamus omnes“-Zitat in Lassos Motette Nunc gaudere licet und sein Kontext – Aspekte der geistlichen Parodie bei Orlando di Lasso." Journal of the Alamire Foundation 5, no. 2 (2013): 237–59. http://dx.doi.org/10.1484/j.jaf.1.103495.

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Bergquist, Peter, Horst Leuchtmann, and George C. Schuetze. "Musik der bayerischen Hofkapelle zur Zeit Orlando di Lassos; 2. Auswahl; Sdegnosi Ardori ("Zornesgluten")-Des bayerischen Hofmusikers Giulio Gigli Sammeldruck funfstimmiger Vertonungen von Battista Guarinis Madrigal "Ardo si," Adam Berg, Munchen 1585; mit einem Anhang von 24 weiteren Vertonungen desselben Madrigals aus der Zeit von 1583 bis 1678." Notes 48, no. 1 (1991): 279. http://dx.doi.org/10.2307/941833.

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Karnowski, Karol Marian, Ewa Mączyńska, Maciej Nowakowski, Bartłomiej Kałużny, Ireneusz Grulkowski, and Maciej Wojtkowski. "Impact of diurnal IOP variations on the dynamic corneal hysteresis measured with air-puff swept-source OCT." Photonics Letters of Poland 10, no. 3 (2018): 64. http://dx.doi.org/10.4302/plp.v10i3.848.

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The deformation amplitudes measured with air-puff OCT are sensitive to both (intraocular pressure) IOP and biomechanical properties of the cornea. Analysis of the amplitudes of corneal deformation is challenging due to interrelation of IOP and corneal biomechanics. In this study, we used natural diurnal IOP fluctuations to investigate corneal deformations in a number of subjects whose eyes were measured multiple times during a day. The results of analysis, based on corneal hysteresis, revealed a corneal hysteresis parameter, which remains constant during a day for each individual eye. We hypothesize that above-mentioned metric might correlate with biomechanical properties of the cornea without influence of IOP. Full Text: PDF ReferencesMeek KM, Tuft SJ, Huang Y, Gill PS, Hayes S, Newton RH, Bron AJ, "Changes in Collagen Orientation and Distribution in Keratoconus Corneas", Invest Ophthalmol Vis Sci, 2005. 46(6): p. 1948-56. CrossRef Zimmermann DR, Fisher RW, Winterhalter KH, Witmer R, Vaughan L, "Comparative studies of collagens in normal and keratoconus corneas", Exp Eye Res, 1988. 46(3): p. 431-42. CrossRef Andreassen TT, Simonsen AH, and Oxlund H, "Biomechanical properties of keratoconus and normal corneas", Experimental Eye Research, 1980. 31(4): p. 435-441. CrossRef Heijl A, Leske MC, Bengtsson B, Hyman L, Bengtsson B, Hussein M, "Reduction of Intraocular Pressure and Glaucoma Progression", Arch Ophthalmol, 2002. 120(10): p. 1268-79. CrossRef Chauhan BC and Drance SM, "The influence of intraocular pressure on visual field damage in patients with normal-tension and high-tension glaucoma", Investigative Ophthalmology & Visual Science, 1990. 31(11): p. 2367-2372. DirectLink Gelaw Y, "The impact of central corneal thickness on intraocular pressure among Ethiopian glaucoma patients: a cross-sectional study", BMC Ophthalmology, 2012. 12(1): p. 58. CrossRef Doughty MJ and Zaman ML, "Human Corneal Thickness and Its Impact on Intraocular Pressure Measures: A Review and Meta-analysis Approach", Surv Ophthalmol, 2000. 44(5): p. 367-408. CrossRef Liu J, and Roberts CJ, "Influence of corneal biomechanical properties on intraocular pressure measurement: Quantitative analysis", J Cataract Refract Surg, 2005. 31(1): p. 146-55. CrossRef Ehlers N, Hansen FK, and Aasved H, "Biometric Correlations of Corneal Thickness", Acta Ophthalmol (Copenh), 1975. 53(4): p. 652-9. CrossRef Harada Y, Hirose N, Tawara A, "The Influence of Central Corneal Thickness and Corneal Curvature Radius on The Intraocular Pressure as Measured By Different Tonometers: Noncontact and Goldmann Applanation Tonometers", J Glaucoma, 2008. 17(8): p. 619-25. CrossRef Alonso-Caneiro D, Karnowski K, Kaluzny BJ, Kowalczyk A, Wojtkowski M, "Assessment of corneal dynamics with high-speed swept source Optical Coherence Tomography combined with an air puff system", Optics Express, 2011. 19(15): p. 14188-14199. CrossRef Dorronsoro C, Pascual D, Perez-Merino P, Kling S and Marcos S, "Dynamic OCT measurement of corneal deformation by an air puff in normal and cross-linked corneas", Biomedical Optics Express, 2012. 3(3): p. 473-487. CrossRef Karnowski K, Kaluzny BJ, Szkulmowski M, Gora M, Wojtkowski M, "Corneal topography with high-speed swept source OCT in clinical examination", Biomedical Optics Express, 2011. 2(9): p. 2709-2720. CrossRef A. N. S. Institute, "American National Standard for Safe use of Lasers," (American National Standards Institute, Orlando, FL, 2000) DirectLink David R, Zangwill L, Briscoe D, Dagan M, Yagev R, Yassur Y, "Diurnal intraocular pressure variations: an analysis of 690 diurnal curves", Br J Ophthamlom, 1992, 76(5): p. 280-282 CrossRef Maczynska E, Karnowski K, Szulzycki K, Malinowska M, Dolezyczek H, Cichanski A, Wojtkowski M, Kaluzny BJ, Grulkowski I, Journal of Biophotonics (to be published).

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Dissertations / Theses on the topic "Orlandus Lassus"

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Doctor, Daniel Bruce. "Treatment of polyphony in the music of Giovanni Pierluigi da Palestrina and Orlandus Lassus." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1606214.

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<p> Composers who thrived during the Renaissance period were able to integrate a developing use of polyphony into their music successfully without distorting the meaning of the cherished sacred text. The fact that composers of this period were able to write hauntingly beautiful compositions, with so much resistance toward the use of polyphony, is truly astounding. The focus of this study will be on Giovanni Pierluigi da Palestrina's Missa Brevis and Orlandus Lassus's Missa "Entre vous Filles." Both works are solid representations of each composer's compositional characteristics after their writing style matured. This paper analyzes the many compositional techniques used in the two Missa brevis settings by Palestrina and Lassus with a goal of uncovering how these men created musically rewarding compositions while following the musical guidelines of their time. </p><p> In order to understand fully how each composer developed as a musician it is important to study the past. Therefore, the paper will feature a brief history of each composer aimed at familiarizing the reader with their formal training and their specific compositional characteristics. A study of each composer's musical tendencies will help track the development of their styles. The meetings at the Council of Trent had a profound impact on sacred music of this period. These implications will be briefly described in the paper. Finally, a thorough analysis of each Missa brevis, with specific attention placed on the Kyrie and Credo movements, will provide crucial information to support the position of this paper. The analysis will include Roman numeral harmonic implications, motivic development, treatment of text, and form. The goal is to uncover, through detailed analysis, how Palestrina and Lassus were effectively able to set text that pleased religious leaders while maintaining their musical integrity. This paper allows for an in-depth study into the approach each composer took to achieve this success. This research should be of great use to conductors of current choral ensembles who are considering programming sacred music by Palestrina and Lassus.</p>

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Lessoil-Daelman, Marcelle. "Rôle des répétitions textuelles dans les Psaumes de la Pénitence de LASSUS." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68116.

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Textual repetitions abound in verses of the Seven Penitential Psalms of Lassus and this research attempts to discover their function. A total of one hundred and thirty-two verses were analyzed. The results of this investigation exhibit numerous mathematical figures underlying the entire work's structure, and the influence of repetitions is conspicuous in each figure's organization. Moreover, this study shows, in a smaller measure, the mutual influence between form and text expression. A detailed method of calculation is also provided which may eventually be applied to other works of the repertoire of the sixteenth century.

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Temme, Diane. "Orlando di Lasso's psalm settings : an examination of genre in late sixteenth-century psalm motets and German Leider." Thesis, Bangor University, 2019. https://research.bangor.ac.uk/portal/en/theses/orlando-di-lassos-psalm-settings(734d892f-f377-4279-bda2-2b6315cbb6a1).html.

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Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso's engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso's interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso's lifetime. This context along with Lasso's compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century.

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Fisher, Gary. "The Munich Kapelle of Orlando di Lasso, 1563-1594 : a model for Renaissance choral performance practice /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1987.

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Johnson, Nicholas Dean. "The influence of the Jesuits on the Passion music of Orlando di Lasso." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3703.

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Thesis (M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: School of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Hanson, Jan. "Orlando di Lasso's Missa Ad Imitationem Moduli Doulce Memoire: An Examination of the Mass and its Model." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc332407/.

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Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The "Missa Ad Imitatiomem Moduli Doulce Memoire" and its model, the chanson "Doulce Memoire" by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned. Chapter Two relates biographical information on Lasso and gives a brief summary of his compositions. Attention is given to the number and type of Parody Masses by Lasso. Chapter Three discusses Sandrin and the chanson model, "Doulce Memoire." The original French text, an English translation, and form of the chanson are given. Chapter Four gives a detailed analysis of the "Missa Doulce Memoire" illustrating the use of borrowed material on specific sections of the Mass. The free sections of the Mass are discussed and compared with the parody sections. Other compositional devices, such as text painting, varied textures, and coloration are also mentioned. In Chapter Five, the "Missa Doulce Memoire" is compared to Lasso's other parody works and conclusions will be drawn concerning the composer's choice of material and treatment of the text, especially with regard to the free sections, the place of the Parody Mass in Lasso's ouevre. and their place in the modern choral repertory.

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Ambiel, Aurea Helena de Jesus. "Lamentationes Jeremiae Prophetae de Orlando di Lasso = a aplicação da quinta categoria analitica de Joachim Burmeister." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284035.

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Orientador: Helena Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T18:17:05Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_D.pdf: 16067202 bytes, checksum: 62a0b51ee340c1cc3d3ef9f5ccbfd44b (MD5) Previous issue date: 2010<br>Resumo: Em Musica Poética (1606) , Joachim Burmeister oferece a primeira proposta de análise formal em música . A sua metodologia analítica tem um direcionamento retórico- musical e compreende a divisão em cinco categorias: "(1) investigação do modo; (2) investigação do gênero melódico; (3) investigação do tipo de polifonia; (4) consideração da qualidade; (5) secionamento da peça em afetos ou períodos" (BURMEISTER, ([1606] 1993, p.201). O presente trabalho propõe a análise da obra Lamentationes Jeremiae Prophetae de Orlando Di Lasso, segundo a sua quinta categoria. A sua aplicação nesta obra de Lasso pode revelar o valor da análise. A intenção inicial do autor, antes de mais nada, era pedagógica: ele tencionava ensinar os jovens músicos a compor, utilizando como meio: o estudo, a observação e a imitação dos recursos engenhosos empregados na obra pelos grandes mestres (emulação). A aplicação desta quinta categoria coloca o analista numa posição que diz respeito também ao intérprete: é preciso encontrar nas diversas partes do discurso musical os afetos sugeridos pelo compositor. Através da análise é possível recriar a atmosfera afetiva da obra, oferecendo uma importante ferramenta para a interpretação, com profundidade e acuidade estilística<br>Abstract: In Musica Poetica (1606) Joachim Burmeister offers the first proposal of a formal analysis in music. His analytical methodology has a rhetoric-musical orientation and includes a five-category division: "(1) investigation of the mode; (2) investigation of the melodic genus; (3) investigation of the type of polyphony; (4) consideration of the quality; (5) sectioning of the piece into affections or periods" (BURMEISTER, [1606] 1993, p. 201). This dissertation aims to analyse Lamentationes Jeremiae Prophetae by Orlando Di Lasso in accordance with Burmeister's fifth category. The application of his fifth category on Lasso's work can reveal the value of this analytical method. Initially the authors's intention was pedagogic. He wanted to teach young musicians how to write music using the study, observation and imitation of inventive resources employed by great masters (emulation). Nowadays the application of this fifth category puts the music analyst on a par with the music performer. It is necessary to find out first the affect suggested by the composer among the several parts of the musical discourse. Through the utilization of this fifth category it is possible to recreate the affective atmosphere of the work. At the same time it can provide the performer an important tool to help in the interpretation of the work with depth and a keener sense of historical stylistic acuity<br>Doutorado<br>Doutor em Música

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Ballman, Christine. "Les oeuvres de Lassus mises en tablature pour le luth: catalogue - transcriptions - analyse." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211492.

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Popolin, Daniela Francine Lino. "Lagrime di San Pietro de Orlando di Lasso : um estudo de preparação e execução através de uma nova edição crítica e revisada." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284519.

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Orientador: Carlos Fernando Fiorini<br>"O segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro"<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T03:24:23Z (GMT). No. of bitstreams: 2 Popolin_DanielaFrancineLino_D.pdf: 30668844 bytes, checksum: 792422ea820dade8c485cb8c13f1f408 (MD5) Popolin_DanielaFrancineLino_D_ANEXO.zip: 1638597 bytes, checksum: 643d2c51b49b32f196e1cd7ab01bbb9c (MD5) Previous issue date: 2013<br>Resumo: Lagrime di San Pietro é uma das obras mais relevantes dentro da vasta produção de Orlando di Lasso, composta por um conjunto de vinte Madrigais Espirituais e um Moteto. Esta tese teve como principal objetivo um estudo sobre a preparação e a execução desta obra sob a ótica do regente, embasado por um conjunto de pesquisas adjacentes que proporcionassem um suporte teórico, como análise musical, textual e a relação entre ambos, contextualização histórica da obra e do compositor, além do levantamento das dificuldades encontradas durante o processo de execução da obra, partindo da aplicação prática da proposta apresentada. Devido à dificuldade de se encontrar uma edição ideal, foi necessário confeccionar uma nova partitura da obra que pudesse ser utilizada tanto como base para esse estudo como para a sua execução. Assim, o segundo volume apresenta uma nova edição, crítica e revisada, de Lagrime di San Pietro<br>Abstract: Lagrime di San Pietro is among the most significant works in the huge production of Orlando di Lasso, consisting of a set of twenty Spiritual Madrigals and a Motet. This thesis aimed to a study on the preparation and performance of the work from the conductor's perspective, based on a set of adjacent researches that provide a theoretical foundation and practical implementation of the proposals, such as musical and textual analysis and the relationship between both, a historical background of the work and the composer, and a survey of the difficulties found during the performance of the work, based on the implementation of the proposal. Given the difficulty of finding a right edition, it was necessary to prepare a new score of the work which could be used both as the basis for this study and for its performance. Thus, the second volume presents a new reviewed and critical edition of Lagrime di San Pietro<br>Doutorado<br>Praticas Interpretativas<br>Doutora em Música

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Roth, Marjorie A. "The voice of prophecy Orlando di Lasso's Sibyls and Italian humanism /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/85772021.html.

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Books on the topic "Orlandus Lassus"

1

Lasso, Orlando di. Orlandus Lassus en Antwerpen, 1554-1556: Antwerpen, Museum Vleeshuis, 20 augustus-27 november 1994. Stad Antwerpen, 1994.

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Lasso, Orlando di. Con bien fou tu serais Orlando: Correspondance de Roland de Lassus avec le prince de Bavière. B. Coutaz, 1988.

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(Society), SPIE, ed. Laser technology for defense and security V: 13-14 April 2009, Orlando, Florida, United States. SPIE, 2009.

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Dubinskii, Mark A. Laser technology for defense and security V: 13-14 April 2009, Orlando, Florida, United States. Edited by SPIE (Society). SPIE, 2009.

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Post, Stephen G., and Mark A. Dubinskii. Laser technology for defense and security VI: 5-6 April 2010, Orlando, Florida, United States. Edited by SPIE (Society). SPIE, 2010.

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Post, Stephen G., and Mark A. Dubinskii. Laser technology for defense and security VII: 25-27 April 2011, Orlando, Florida, United States. Edited by SPIE (Society). SPIE, 2011.

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International Conference on Infrared and Millimeter Waves (12th 1987 Lake Buena Vista, Fla.). Conference digest: December 14-18, 1987, Lake Buena Vista (Orlando), Florida. Edited by Temkin Richard J and IEEE Microwave Theory and Techniques Society. Institute of Electrical and Electronics Engineers, 1987.

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International Congress on Applications of Lasers and Electro-optics (1992 Orlando, Fla.). ICALEO '92, laser materials processing: 25-29 October 1992, Orlando, Florida. Edited by Farson Dave F, Steen W. M, Miyamoto Isamu, Laser Institute of America, and Society of Photo-optical Instrumentation Engineers. The Institute, 1993.

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Lasers and Electro-optics Society (Institute of Electrical and Electronics Engineers). Meeting. LEOS '98: Conference proceedings : 11th Annual Meeting : IEEE Lasers and Electro-Optics Society 1998 Annual Meeting : 1-4 December, 1998, the Walt Disney World Swan Hotel, Orlando, Florida. IEEE, 1998.

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Lasers and Electro-optics Society (Institute of Electrical and Electronics Engineers). Meeting. LEOS '89: Lasers and Electro-Optics Society annual meeting : Conference proceedings, October 17-20, 1989, Orange County Convention Center, Orlando, Florida. IEEE, 1989.

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Book chapters on the topic "Orlandus Lassus"

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Danuser, Hermann. "Lasso [Lassus], Orlando di [de]." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_25.

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Danuser, Hermann. "Lasso [Lassus], Orlando di [de]." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_164.

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Danuser, Hermann. "Lasso, Orlando di." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_167.

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Haar, James. "Munich at the Time of Orlande de Lassus." In The Renaissance. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20536-3_9.

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Gutknecht, Dieter. "Orlando di Lasso in Wien und Graz." In Die Wiener Hofmusikkapelle III. Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791423.97.

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"Preface." In Orlando di Lasso Studies. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.001.

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Erb, James. "Aspects of form in Orlando di Lasso's Magnificat settings." In Orlando di Lasso Studies. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.002.

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Göllner, Marie Louise. "Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564–65." In Orlando di Lasso Studies. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.003.

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Zager, Daniel. "Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns." In Orlando di Lasso Studies. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.004.

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Cardamone, Donna G. "The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music." In Orlando di Lasso Studies. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511551383.005.

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Conference papers on the topic "Orlandus Lassus"

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Botez, Dan, Luke J. Mawst, Michael Jansen, et al. "High-power coherent diode lasers." In Orlando '91, Orlando, FL, edited by Mark P. Bendett. SPIE, 1991. http://dx.doi.org/10.1117/12.44911.

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Greene, Ben, Matthew S. Taubman, Jeffrey W. Watts, and Gary L. Gaither. "Solid state lasers for planetary exploration." In Orlando '91, Orlando, FL, edited by Robert J. Curran, James A. Smith, and Ken Watson. SPIE, 1991. http://dx.doi.org/10.1117/12.45841.

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Lund, Glenn I., and Jean Gaignebet. "Potential of tunable lasers for optimized dual-color laser ranging." In Orlando '91, Orlando, FL, edited by Robert J. Curran, James A. Smith, and Ken Watson. SPIE, 1991. http://dx.doi.org/10.1117/12.45844.

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Foukal, Peter V., Clifford C. Hoyt, and Linas Jauniskis. "Cryogenic radiometers and intensity-stabilized lasers for EOS radiometric calibrations." In Orlando '91, Orlando, FL, edited by Bruce W. Guenther. SPIE, 1991. http://dx.doi.org/10.1117/12.46685.

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Moulton, Peter F. "Worldwide market for scientific lasers." In Orlando '90, 16-20 April, edited by Gary T. Forrest and Morris R. Levitt. SPIE, 1990. http://dx.doi.org/10.1117/12.637339.

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Gluch, Jr., Richard P. "Diode pumped solid state lasers." In Orlando '90, 16-20 April, edited by Gary T. Forrest and Morris R. Levitt. SPIE, 1990. http://dx.doi.org/10.1117/12.637346.

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McInerney, John G., Yuan Li, Theodore C. Salvi, and Daniel M. Heffernan. "Optical bistability and switching by nonlinear waveguiding in semiconductor lasers and laser amplifiers." In Orlando '90, 16-20 April, edited by Rudolf Hartmann, M. J. Soileau, and Vijay K. Varadan. SPIE, 1990. http://dx.doi.org/10.1117/12.21676.

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Reports on the topic "Orlandus Lassus"

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Fantone, Stephen D. Advanced Solid-State Lasers, Twelfth Topical Meeting (1997) Held in Orlando, Florida on January 27-29, 1997. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada347691.

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