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Journal articles on the topic 'Salve Regina (Music) – Scores'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Anderson, Robert, Puccini, Shelley Everall, et al. "Requiem Aeternam; Salve Regina; Vexilla Regis." Musical Times 136, no. 1832 (1995): 558. http://dx.doi.org/10.2307/1003628.

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2

Buttner, Fred. "Zur Geschichte der Marienantiphon "Salve regina"." Archiv für Musikwissenschaft 46, no. 4 (1989): 257. http://dx.doi.org/10.2307/930541.

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3

James, Aaron. "Salve regina Barbara: the adaptation and reuse of Marian motets." Early Music 45, no. 2 (2017): 217–30. http://dx.doi.org/10.1093/em/cax024.

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4

Wagstaff, Grayson. "Mary's Own. Josquin's Five-Part "Salve regina" and Marian Devotions in Spain." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 52, no. 1 (2002): 3. http://dx.doi.org/10.2307/939164.

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5

Page, Christopher. "Marian texts and themes in an English manuscript: a miscellany in two parts." Plainsong and Medieval Music 5, no. 1 (1996): 23–44. http://dx.doi.org/10.1017/s0961137100001054.

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Michael Morrow was an acute reader of medieval literature, and one who knew that every medieval text is a potential source of information for the modern performer and musicologist. A striking example is provided by the 453 chapters of a fifteenth-century anthology now in the library of Sidney Sussex College, Cambridge. This imposing book appears to be one of the largest collections of Marian miracle-stories in the world. Assembled in the year 1409, perhaps in East Anglia, it contains forty-nine chapters about Marian devotions, liturgies, plainsongs and prayers, among them several texts that we
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6

Heinzel, Alexander, and Bernhold Schmid. "Neu aufgefundene Satze von Orlando di Lasso: zwei "Adoramus te Christe" und ein "Salve regina"." Archiv für Musikwissenschaft 55, no. 2 (1998): 132. http://dx.doi.org/10.2307/931119.

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7

Osborne, Robert, Franz Peter Schubert, Pamela Weston, et al. "Salve Regina; For Soprano (Alternative Clarinet II), Piano and Obbligato Clarinet in B Flat." Notes 42, no. 4 (1986): 863. http://dx.doi.org/10.2307/897819.

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8

Blackburn, Bonnie J. "The Virgin in the Sun: Music and Image for a Prayer Attributed to Sixtus IV." Journal of the Royal Musical Association 124, no. 2 (1999): 157–95. http://dx.doi.org/10.1093/jrma/124.2.157.

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‘Salve, regina, mater misericordiae … ad te clamamus … ad te suspiramus’: when this lovely Marian antiphon is sung, whether by one person or many, it is intoned on behalf of all mankind. ‘Ave sanctissima Maria … libera me ab omni malo; ora pro peccato meo’: when this prayer is said, it is the individual who begs the Virgin's intercession, who pleads for her to free him from evil, who asks her to pray for his sins. Prayers in the first person singular, a direct address on the most personal level, I and thou, are usually private. It would seem surprising to find them set to music for several voi
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9

Knights, Francis. "The transmission of motets within the Paston manuscripts, c.1610." Muzikologija, no. 27 (2019): 137–62. http://dx.doi.org/10.2298/muz1927137k.

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The creation and expansion of commercial music printing from around 1500 has normally led to modern editors assigning textual primacy to published copies of music from the period in preference to any equivalent manuscript copies. However, some groups of manuscript sources, such as the Paston collection, from late 16th and early 17th century England, can shed a different light on contemporary music print culture and its relationship to manuscript copying. Edward Paston?s huge private music library, now dispersed in collections in the UK and US, contains many multiple versions of works he alread
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10

van Orden, Kate. "CHILDREN'S VOICES: SINGING AND LITERACY IN SIXTEENTH-CENTURY FRANCE." Early Music History 25 (August 17, 2006): 209–56. http://dx.doi.org/10.1017/s0261127906000179.

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Around 1600, students in France learnt to read with printed primers. They began with the letters of the alphabet, learning them by playing with little wooden or cardboard tablets or picking them out of books, and then moved on to syllables, which were learnt from syllabaries printed in large letters and containing the Pater noster, Ave Maria, Credo, Confiteor and the Benedicite. When they began to spell out whole words, children moved on to another syllabary containing the Magnificat, the Nunc Dimittis, Salve Regina, the Seven Penitential Psalms and the litanies of the Saints, all of them comm
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11

Rizo Valero, David, Nieves Pascual León, and Craig Stuart Sapp. "White Mensural Manual Encoding: from Humdrum to MEI." Cuadernos de Investigación Musical, no. 6 (January 16, 2019): 373. http://dx.doi.org/10.18239/invesmusic.v0i6.1953.

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<p><span lang="EN-US">The recovery of musical heritage currently necessarily involves its digitalization, not only by scanning images, but also by the encoding in computer-readable formats of the musical content described in the original manuscripts. In general, this encoding can be done using automated tools based with what is named Optical Music Recognition (OMR), or manually writing directly the corresponding computer code. The OMR technology is not mature enough yet to extract the musical content of sheet music images with enough quality, and even less from handwritten sources,
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12

Mitchell, Robert J. "Reconstructing a fragmentary Gloria." Plainsong and Medieval Music 4, no. 2 (1995): 149–84. http://dx.doi.org/10.1017/s0961137100000966.

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The idea of reconstructing fragmentary polyphony has not really found a niche in mid-fifteenth-century studies. Whilst editors of Baroque music have become quite used to reconstructing string parts to ‘arie con tre violini’ in skeletal opera sources, and whilst sixteenth-century specialists have occasionally been brave enough to recompose the contents of a lost partbook, this sort of treatment has rarely been applied to fragmentary works of the Dufay and Ockeghem periods. There seem to be two reasons for this. Firstly, since many of the essentials of mid-fifteenth-century style are not based o
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13

Turbet, Richard, Juan Guttierrez de Padilla, and Hernando Franco. "Missa ego flos campi Mirabilia testimonia Deus in adintosinna Salve regina; Stabat mater Transfige dulcissime; Tristis est Velum templi; Versa est in luctum Circumdederunt me; Vidi turban; Lamentations for Maundy Thursday." Musical Times 134, no. 1806 (1993): 451. http://dx.doi.org/10.2307/1003017.

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14

Skipp, Benjamin. "Pärt - PÄRT: Adam's Lament; Beatus Petronius; Salve Regina; Statuit ei Dominus; Alleluia-Tropus; L'Abbé Agathon; Estonian Lullaby; Christmas Lullaby. Latvian Radio Choir, Sinfonietta Riga, Vox Clamantis, Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra c. Tõnu Kalijuste. ECM New Series 2225." Tempo 67, no. 264 (2013): 99–100. http://dx.doi.org/10.1017/s0040298213000314.

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15

STOCKIGT, JANICE B. "JAN DISMAS ZELENKA (1679–1745) Sacred Music (Bach's Contemporaries 4) Litaniæ de Venerabili Sacramento (ZWV147), Regina cœli lætare (ZWV134), Salve regina, mater misericordiæ (ZWV135), Lectiones and Invitatorium from Officium defunctorum (ZWV47) Carolyn Sampson (soprano), Rebecca Outram (soprano), Robin Blaze (countertenor), James Gilchrist (tenor), Michael George (bass), Peter Harvey (bass) / Choir of the King's Consort / The King's Consort / Robert King Hyperion CDA 67350, 2003; one disc, 1'13"." Eighteenth Century Music 1, no. 1 (2004): 119–21. http://dx.doi.org/10.1017/s1478570604340078.

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16

Marynchak, A. V. "Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)." Aspects of Historical Musicology 18, no. 18 (2019): 213–29. http://dx.doi.org/10.34064/khnum2-18.12.

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The objectives of the research. The article is devoted to the study of the main parameters of the Marian theme embodiment in the art of music, with highlighting the aspects of history and genre stylistics. It is noted that the choice of the topic is related to the study of the works by the Kharkiv composer of Polish origin Konstanty Antoni Gorski, who worked in Kharkiv for many years (1880–1910) and belongs to the founders of his academic musical culture. The article lays the methodological basis for studying interpretation of the Marian theme in the works by this author, for that the analysis
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17

Di Grazia, Donna Marie. "Domine, tu jurasti, and: Vide, Domine, afflictionem, and: Angelus Domini, and: Conserva me, Domine, and: Vox clamantis in deserto, and: Crux triumphans, and: Ave regina caelorum, and: Salve regina, and: Ave Maria, and: O domina mundi, and: Regina caeli laetare, and: Aspice Domini, and: Absalon fili mi, and: Ave Maria, and: Ave Maria, and: Ave verum corpus, and: Ave verum corpus, and: Illibata Dei virgo nutrix, and: Inviolata, integra et casta es Maria, and: Missus est Gabriel angelus, and: Gustate et videte." Notes 61, no. 3 (2005): 857–66. http://dx.doi.org/10.1353/not.2005.0012.

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