Relevant bibliographies by topics / Te Deum laudamus (Music)

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

Academic literature on the topic 'Te Deum laudamus (Music)'

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

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Journal articles on the topic "Te Deum laudamus (Music)"

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Škrjanc, Radovan. "Vprašanje slogovne opredelitve skladb – poskus njegove obravnave na primeru cerkvenih del Jakoba F. Zupana (I)." Musicological Annual 36, no. 1 (December 1, 2000): 65–72. http://dx.doi.org/10.4312/mz.36.1.65-72.

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Članek obsega prvi del avtorjevega razmisleka o vprašanjih, ki zadevajo slogovno klasificiranje skladb in – kot izhodišče obravnave teh vprašanj – povzema nekatere važnejše pomisleke glede primernosti opredelitve dveh cerkvenih del Jakoba Frančiška Zupana (1734–1810), Lavretanskih litanij in G in skladbe Te Deum laudamus, s slogovnima konceptoma barok in klasicizem. Dileme, ki se ob tem pojavljajo namreč ne tematizirajo le sprejemljivosti dosedanjih označitev skladateljevega Te Deuma za baročno in Litanij za klasicistično skladbo, glede na nekatere uveljavljene razvrstitve slogovnih značilnosti glasbenega baroka in klasicizma (npr. Blumejeve, v Epochen der Musikgeschichte iz leta 1974), temveč tudi nagovarjajo načelni premislek o konceptualnih izhodiščih epohnoslogovnega pristopa k zgodovini glasbe in zlasti posledicah nekritične aplikacije te vrste zgodovinopisne perspektive pri pisanju zgodovine glasbe »robnih območij« (M. Bergamo) Evrope, kot je vsaj do nedavnega bilo tudi slovensko.
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Tyrała, Robert. "Te Deum laudamus!" Pro Musica Sacra 13 (September 1, 2015): 5. http://dx.doi.org/10.15633/pms.1110.

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Scheinhammer-Schmid, Ulrich, and Isfrid Kayser. "Rezension von: Kayser, Isfrid, Magnificat ..." Ulm und Oberschwaben 60 (July 12, 2023): 444–45. http://dx.doi.org/10.53458/uo.v60i.6866.

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Isfrid Kayser: Magnificat – Missa VI. Orpheus Vokalensemble/Ars Antiqua Austria unter Leitung von Jürgen Essl; CD 83.479. Leinfelden-Echterdingen: Carus-Verlag 2017; 19,90 EUR Æmilian Rosengart: Te Deum laudamus. Orpheus Vokalensemble/Ars Antiqua Austria unter Leitung von Jürgen Essl; CD 83.427 Leinfelden-Echterdingen: Carus-Verlag 2017; 19,90 EUR
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GOSINE, C. JANE. "MICHEL-RICHARD DE LALANDE (1657–1726) MUSIC FOR THE SUN KING Te Deum laudamus (S32); ‘Panis angelicus’, from Sacris solemniis (S74); La grande pièce royale (S161); Venite, exultemus (S58) Carolyn Sampson (dessus 1), Natalie Clifton-Griffith (dessus 2), James Gilchrist (haute-contre), Paul Agnew (taille), Jonathan Gunthorpe (basse-taille 1), James Mustard (basse-taille 2) / Ex Cathedra Chamber Choir / Ex Cathedra Baroque Orchestra / Jeffrey Skidmore Hyperion CDA67325, 2002; one disc, 1′11′′." Eighteenth Century Music 1, no. 2 (September 2004): 328–31. http://dx.doi.org/10.1017/s1478570604310183.

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Marcus, Kenneth H., and Paul Westermeyer. "Te Deum: The Church and Music." Sixteenth Century Journal 30, no. 3 (1999): 843. http://dx.doi.org/10.2307/2544847.

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Molina, Marina Ruiz, and Christine Olson. "Drawing, Photography, and the Design of Tiffany Studios’ Te Deum Laudamus Mosaic Triptych." Metropolitan Museum Journal 51 (January 2016): 162–81. http://dx.doi.org/10.1086/691113.

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Teixeira, Thiago Plaça. "O Kyrie de Nepomuceno: estilo e intertextualidade." ORFEU 2, no. 1 (December 19, 2017): 06–47. http://dx.doi.org/10.5965/2525530402012017001.

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O presente artigo apresenta uma análise do Kyrie da Missa em Ré menor (1915) de Alberto Nepomuceno (1864-1920), visando identificar características estilísticas e relações de intertextualidade musical. Quanto à forma, textura e timbre, o Kyrie de Nepomuceno apresenta grande semelhança com o Kyrie da Missa Te Deum laudamus (1899), de Lorenzo Perosi (1872-1956). Quanto à harmonia, a obra denota certo caráter modal, possivelmente por influência de técnicas de harmonização do canto gregoriano. Quanto à melodia e à prosódia, nota-se certa proximidade com as linhas melódicas gregorianas, consideradas então paradigma da música sacra católica.
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Lazos, John G. "Finalmente, los sonidos del siglo XIX mexicano ya no son tan lejanos: ¿qué implica escuchar de nuevo el Te Deum laudamus (1835) de José Antonio Gómez?" Antec: Revista Peruana De Investigación Musical 7, no. 1 (June 28, 2023): 98–125. http://dx.doi.org/10.62230/antec.v7i1.179.

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La práctica musical del siglo XIX mexicano sigue siendo un tema pendiente tanto en nuestros campos de estudios como en los escenarios. A pesar de ello, el nombre de José Antonio Gómez y Olguín empieza a resonar. El resurgimiento de este filarmónico del siglo xix se debe en gran parte al acercamiento y estudio de las fuentes de primera mano. Sin embargo, aun con una idea más clara de su vida y obra, su legado principal, sus obras, siguen ausentes en nuestros escenarios. Me interesa narrar aquí los factores que han mantenido a distancia un periodo crucial de nuestra historia musical. Por ejemplo, cómo una Ley Federal del año 1835 determinó una serie de acontecimientos que culminaron en la Catedral Metropolitana. El cabildo decidió recibir al general Antonio López de Santa-Anna con un Te Deum. Entonces, el segundo organista, José Antonio Gómez, propuso escribir una obra con solistas, coro y gran orquesta acorde al momento. Gómez se jugaba, durante los inicios del México independiente, su futuro dentro de la iglesia más importante del país y por extensión, en el ámbito secular. Casi doscientos años después, la Orquesta Sinfónica de Xalapa interpretó en septiembre de 2022, con gran éxito, su Te Deum laudamus.
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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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Schoenfeld, Deborah Loftis. "Book Review: Te Deum: The Church and Music." Interpretation: A Journal of Bible and Theology 53, no. 4 (October 1999): 440. http://dx.doi.org/10.1177/002096439905300435.

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Dissertations / Theses on the topic "Te Deum laudamus (Music)"

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Piekarski, James. "Te Deum." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935762/.

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Te Deum is a single movement work for chorus and orchestra. It employs an ensemble comprising the complement of string, woodwind, and brass instruments typically available in a small symphony orchestra with an expanded percussion section. The choral forces are in proportional relation to the instrumental forces are in proportional relation to the instrumental forces and it is sung in the original Latin. The intended performance time is approximately 18 minutes. Temporal aspects of the work are characterized by three contrasting sections. The slow and solemn opening section is given to long stretches of silence sparsely punctuated by low drums. The remainder of the work is texturally more dense and employs a much quicker tempo. A steady core pulse is also a key feature, with attention given to avoiding any regular metrical implications by use offset accents, non-consecutive identical phrase lengths, and a slow harmonic rhythm.
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ISAACS, KEVIN JAY. "TE DEUM OPUS 62. (ORIGINAL COMPOSITION)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/188189.

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This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.
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Hood, Heather A. "A study and application of the ancient Te Deum in postmodern worship at Christ Presbyterian Church, Edina, Minnesota." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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

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Title from accompanying document.
Collegiate Chorale ; conducted by Kathleen Wilson ; J. Sloop, soprano ; D. Huyett, piano ; J. Hall, organ ; Student String quartet ; Student Recorder Ensemble.
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Harris, Christopher Quinton. "The Choral Music of Keaton Lee Scott| A Comprehensive Study of an Alabama Native with Analysis of Festival Te Deum." Thesis, The University of Alabama, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10825345.

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K. Lee Scott, a resident of Birmingham, Alabama, is a living composer of choral, instrumental, and vocal music who has received commendation from conductors, composers, musicologists, and publishers. Scott has composed over three hundred works with both sacred and secular texts. Ninety percent of Scott’s works are commissions from university, high school, church, and community choirs throughout the United States and from choirs in Canada, the Netherlands, and South Africa. Several university and professional choirs have recorded Scott’s music, including The University of Alabama at Birmingham (UAB), The University of Mississippi, Brigham Young University, The University of Miami, The Lee Scott Singers, and The Mormon Tabernacle Choir.

His compositional attributes include an avoidance of trivial rhythmic motives, controlled diatonic harmonic structure, an inclination towards reflective and insightful texts, and an obvious understanding and appreciation for ancient church traditions and their continued relevance and application. Further, Scott understands for whom he composes, their musical and technical abilities, and creates music that is accessible to both singers and audiences. The influence of composers such as Ralph Vaughan Williams, Paul Hindemith, and Igor Stravinsky is identified in Scott’s specific use of rhythmic and harmonic devices. These facts act as a catalyst for this study and have led to the discovery of three basic issues: (1) in no known source has the entire body of work been examined for style or musical content; (2) Scott’s compositional style, including text selection, melodic construction, rhythmic motives and development, and harmonic structure techniques, have been minimally studied in previous research; (3) there are no conclusive comparisons of Scott’s use of traditional sacred texts such as Te Deum with that of other known composers.

This study enables conductors, composers, teachers, and scholars to gain a better understanding of the music of K. Lee Scott and his distinct compositional style. Further, knowledge of Scott’s compositional style allows the choral conductor and teacher to engage in an informed performance of Scott’s Te Deum. Through analysis of several key works within Scott’s oeuvre and subsequent comparison to other well-known composers, teachers and conductors will be able to find new teaching and programming opportunities.

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Jensen, Joni. "A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1240%5F1%5Fm.pdf&type=application/pdf.

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Naumann, Johann Gottlieb. "Te Deum: Für Sopran, Alt, Tenor, Baß, Chor, 2 Oboen, 2 Hörner, 2 Trompeten, Pauken, Streicher und Orgel, 1769: Partitur." Ries & Erler, 2017. https://slub.qucosa.de/id/qucosa%3A20903.

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Johann Gottlieb Naumann ist die bedeutendste Persönlichkeit der Dresdner Hofmusik in der zweiten Hälfte des 18. Jahrhunderts. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend erhielt er bereits als Sechzehnjähriger in Italien eine gründliche musikalische Ausbildung u. a. bei Giuseppe Tartini und Padre Martini. Nach seiner Rückkehr nach Dresden übertrug die hochgebildete Kurfürstin-Witwe Maria Antonia Walpurgis 1764 dem 23jährigen das verantwortungsvolle Amt eines Kirchen-Compositeurs. Sachsen hatte sehr unter den Einschränkungen nach dem Siebenjährigen Krieg, dem Verlust seiner politischen Bedeutung in Europa und seiner wirtschaftlichen Kraft zu leiden, als der junge Naumann seine Tätigkeit aufnahm. Nach zwei weiteren Italienaufenthalten im Auftrag von Maria Antonia Walpurgis (1766 bis 1768 und 1773 bis 1774) wurde er 1776 zum Hofkapellmeister berufen. Im gleichen Jahr erhielt er vom schwedischen König Gustav III. den Auftrag, die Hofmusik in Stockholm zu reorganisieren, was ihm nach seinen erfolgreichen Dresdner Reformerfahrungen glänzend gelang. [... aus der Einleitung]
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Bogner, Ryan. "A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.

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Master of Music
Department of Music
Joshua Oppenheim
Julie Yu Oppenheim
The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).
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Teel, Christopher Brown Wheeldon Marianne Speller Frank. ""Te Deum laudamus" chant fragments in four organ works by Tournemire, Langlais, Dupré, and Demessieux /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3122802.

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Teel, Christopher Brown. ""Te Deum laudamus": chant fragments in four organ works by Tournemire, Langlais, Dupré, and Demessieux." Thesis, 2003. http://hdl.handle.net/2152/988.

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Books on the topic "Te Deum laudamus (Music)"

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Vasks, Pēteris. Te Deum: Per organo (1991). Mainz: Schott, 1993.

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Buharaja, Edmond. Niceta i Remesiana-s: Teo-muzikozofia e tij në kulturën Niceane : (studium monografik) = Niceta of Remesiana : his teo-musicosophy in the Nicean culture. Tiranë: Akademia e Shkencave e Shqipërisë, 2019.

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Handel, George Frideric. Utrechter Te Deum =: Utrecht Te Deum : HWV 278. Kassel: Bärenreiter, 1999.

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Holst, Gustav. Short festival Te Deum. Boca Raton, Fla: E.F. Kalmus, 1997.

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Rutter, John. Te Deum. Chapel Hill, N.C: Hinshaw Music, 1989.

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Universidade Nova de Lisboa. Centro de Estudos de Sociologia e Estética Musical, ed. O grande Te Deum setecentista português: The eighteenth-century Portuguese Grand Te Deum. Lisboa: Biblioteca Nacional de Portugal, 2019.

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Argento, Dominick. Te Deum: (Verba Domini cum verbis populi) : for chorus and orchestra. [New York, N.Y.]: Boosey & Hawkes, 1991.

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

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Tatomirescu, Ion Pachia. Argumente "interne": "Te Deum laudamus ..." = Internal arguments. Timișoara: Editura Aethicus, 2009.

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Bytowie, Muzeum Zachodnio-Kaszubskie w., ed. Te Deum laudamus: Materialne świadectwa duchowości dawnych mieszkańców ziemi bytowskiej. Bytów: Muzeum Zachodniokaszubskie w Bytowie, 2020.

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Book chapters on the topic "Te Deum laudamus (Music)"

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Gallus, Iacobus. "XXIV. Te Deum laudamus." In Monumenta artis musicæ Sloveniæ. Ljubljana: ZRC SAZU, Založba ZRC, 2024. http://dx.doi.org/10.3986/9790709004478_xxiv.

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Gallus, Iacobus. "IV. Te Deum laudamus." In Monumenta artis musicæ Sloveniæ. Ljubljana: ZRC SAZU, Založba ZRC, 2024. http://dx.doi.org/10.3986/9790709004478_iv.

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"Te Deum laudamus." In Ludwig Senfl: Motets For Five Voices. New Senfl Edition 3, 214–33. Hollitzer Verlag, 2022. http://dx.doi.org/10.2307/j.ctv2pfq2h1.34.

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Jamski, Piotr. "Spiżowe Te Deum laudamus." In Triumf 1920. Obraz i pamięć. University of Warsaw Press, 2020. http://dx.doi.org/10.31338/uw.9788323548348.pp.267-280.

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"Te Deum." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.08868.

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Stölzel, Gottfried Heinrich. "German Te Deum." In Recent Researches in the Music of the Baroque Era, 168. A-R Editions, 2010. http://dx.doi.org/10.31022/b168.

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Toropainen, Tanja. "Early Finnish Translations of the Hymn Te Deum laudamus." In Languages in the Lutheran Reformation, 191–214. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvfrxqjc.12.

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"8. Early Finnish Translations of the Hymn Te Deum laudamus." In Languages in the Lutheran Reformation, 191–214. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048531219-011.

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Salieri, Antonio. "Plenary Mass in C with Te Deum." In Recent Researches in the Music of the Classical Era, 103. A-R Editions, 2016. http://dx.doi.org/10.31022/c103.

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Cairns, David. "Berlioz: Grande Messe des Morts Te Deum L'Enfance du Christ." In Choral Music on Record, 175–85. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511586118.013.

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