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Tesis sobre el tema "Motet"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.

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Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies.

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2

Montefu, Jennette Lauren, and res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut." Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.

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Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each m

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3

Bonfield, Stephan. "Mode, text and syntax in selected motets of Cristóbal de Morales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ34878.pdf.

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4

Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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5

Ycard, Sébastien. "L'invention musicale dans le motet du XIIIème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040273.

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Dès lors que l’on s’intéresse au XIIIe siècle, le motet est l’exemple musical le plus fréquemment employé pour illustrer la rationalisation de la pensée médiévale. De ce fait, celui-ci s’inscrit difficilement dans le cadre normé d’une continuité polyphonique.Pourtant, le motet est un passage, nécessaire et transitoire, entre l’organum et la polyphonie contrapuntique du XIVe siècle. La musique qui en découle exacerbe la technique du déchant tout en conservant l’originalité mélodique de chaque voix.C’est la difficulté propre à tout lieu médian : conserver, reproduire, modifier, transmettre puis

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6

Borgerding, Todd Michael. "The motet and Spanish religiosity ca 1550-1610 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.

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7

Brobeck, John Thomas. "The motet at the court of Francis I /." Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686076.

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8

Banks, Jon. "The motet as a formal type in Northern Italy ca 1500 /." New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961785c.

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9

Chiu, Remi. "Motet settings of the Song of Songs ca. 1500-1520." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99361.

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This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiri

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10

Banks, J. R. M. "The motet as a formal type in northern Italy, ca.1500." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315071.

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11

Bazinet, Geneviève. "Pierre Attaingnant's encyclopedia of sacred music: the 1534 -1539 motet series." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121309.

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Pierre Attaingnant's fourteen-volume Motet Series (1534-1539) was a monumental achievement in music printing, featuring innovative approaches to organisation and far exceeding the four earlier motet series printed by Petrucci, Antico, and Moderne, in terms of size and structure. Part I of my dissertation provides a historical context for the Series. Chapter 1 reviews the early years of François I's reign, the musical establishments at the court, and the King's own interest in music. Chapter 2 outlines the state of the motet in sixteenth-century France, and the beginnings of music printing. I t

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12

Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the develo

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13

Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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14

Coplestone-Crow, Natasha. "Philippe de Vitry and the development of the early fourteenth-century motet." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311732.

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15

Saint-Cricq, Gaël. "Formes types dans le motet du XIIIe siècle : étude d’un processus répétitif." Thesis, University of Southampton, 2009. https://eprints.soton.ac.uk/203381/.

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Les études musicologiques ont jusqu’ici reconnu une place très restreinte aux structures répétitives dans le motet du XIIIe siècle, renvoyant l’image d’un genre qui se situerait à contre-courant des pratiques compositionnelles de la polyphonie parisienne et des genres monodiques contemporains. Cette étude propose l’analyse du processus compositionnel de vingt-huit motets non seulement fondés sur la répétition, mais qui sont de surcroît bâtis selon les plans formels conventionnels d’une forme type AAX. Le premier chapitre propose une analyse de la complexion répétitive du bloc AA. Le second cha

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16

Hehr, Elizabeth. "Le petit motet : étude de cinq manuscrits de la collection De Brossard /." [Paris] : [E. Hehr], 1994. http://catalogue.bnf.fr/ark:/12148/cb366814634.

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17

Hamrick, David (David Russell). "Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279184/.

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Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressie

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18

Glysson, Scott Douglas. "An Analysis of Musical Style and Cecilian Idealism in the Latin-Texted Motets of Camille Saint-Saëns." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/325233.

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The Cecilian movement was a reactionary movement made up of composers who sought to restore the musical principles of the fifteenth and sixteenth centuries by placing emphasis back on the liturgy, reviving the idea that the music should be subservient to the text. In his article "The Cecilian Movement in the Nineteenth Century: A Summary of the Movement," Patrick Liebergen introduces the term "Cecilian Ideal" as a means of describing the way in which Franz Liszt and Anton Bruckner incorporated elements of Cecilianism into their compositions. Though the two composers never belonged to the Cäcil

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19

Getz, Christine Suzanne 1957. "Music and Patronage in Milan 1535-1550 and Vincenzo Ruffo's First Motet Book." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332652/.

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The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.

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20

Eby, John Douglas. "Francois Giroust (1737-1799)and the late grand motet in French church music." Thesis, King's College London (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617028.

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The choral music of the French church in the years before the Revolution was more popular than history has recorded, as is witnessed in the large amount of music composed for the nation's cathedrals, and its enduring success at the Concerts Spirituels in Paris and various provincial centres. The chief vehicle for music in the church was not the Mass, but the Grand Motet, a large-scale work for soloists, chorus, and orchestra. As a genre it reached its heights early in the century with Charpentier, Campra, and above all Lalande. Late in the century, it suffered from the stifling popularity of e

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21

Colin, Marie-Alexis. "Eustache Du Caurroy et le motet en France à la fin du XVIe siècle." Tours, 2001. http://www.theses.fr/2001TOUR2016.

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C'est probablement avec les Preces ecclesiasticae, deux volumes de motets imprimés à Paris en 1609, qu' Eustache Du Caurroy (1549-1609) entreprend la publication complète de son oeuvre. Auparavant, seules quelques unes de ses chansons ont été éditées dans des anthologies parisiennes et anversoises. Dans la préface au premier volume, le compositeur justifie la parution tardive de sa production musicale par un souci de perfection qu'il a pu cultiver tout au long d'une carrière consacrée à servir Charles IX, Henri III et Henri IV, notamment comme haute-contre et sous-maître de la chapelle royale.

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22

Schade, Melody Marchman. "Paratextual frames| A material study of Ottaviano Petrucci's four-voice Venetian motet prints, 1502-1505." Thesis, State University of New York at Buffalo, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3629842.

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<p> This dissertation constitutes a material study of the four-voice motet prints published in Venice by Ottaviano Petrucci between 1502 and 1505. These prints, <i>Motetti A, Motetti de passione de cruce de sacramento de beata virgine et huiusmodi, Motetti C and Motetti Libro Quarto,</i> coincided with a burgeoning silent reading culture that was interested in and attuned to devotional reading—particularly as it was made available through books of hours (<i>horae</i>)—and thus, represented a new opportunity for early sixteenth-century singers, readers, and collectors. This disserta

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23

Allinson, David John. "The rhetoric of devotion : some neglected elements in the context of the early Tudor motet." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286476.

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24

Franklin, James Christopher. "Sitting Next to Bach: the Influence of Js Bach on Sven-david Sandström’s Bach Motet Project with a Focus on the Motets “Der Geist Hilft” and “Singet Dem Herrn”." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700027/.

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In many of his choral works, Swedish composer Sven-David Sandström has sought a connection with the musical masters of the past. The number of Sandström works that bear a strong connection to Bach’s music is quite extensive and includes High Mass (1994), Magnificat (2005), the six motets (2003-2008) which constitute the Bach Motet Project under current discussion, and St. Matthew Passion, which recently premiered in Germany and Sweden in 2014. This study explores the extent to which Sven-David Sandström emulated the motets of J.S. Bach in the composition of his own motets. Further, this pape

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25

TROUT, JOHN WILLIAM. "THE ARS MUSICAE OF JOHANNES DE GROCHEIO: THE UNANSWERED QUESTIONS AND A GLIMPSE OF MEDIEVAL CULTURE, TRADITIONS, AND THINKING." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin983290571.

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26

Hertz, Bénédicte. "Le Grand motet dans les pratiques musicales lyonnaises (1713–1773) : Étude des partitions et du matériel conservés à la bibliothèque municipale de Lyon." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20041.

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La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut d

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27

Irving, John (John Wells). "William Byrd's Motet "Tristitia et anxietas" through Elizabethan Eyes: Performance Practice based on an Examination of Sixteenth-Century Sources." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862868/.

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By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teac

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28

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’é

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29

Freis, Wolfgang. "Cristóbal de Morales and the Spanish motet in the first half of the sixteenth century : an analytical study of selected motets by Morales and competitive settings in Sev-Bc 1 and Taraz-C 2-3 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121617j.

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Diss.--Philosophie--Chicago, Ill.--Univ., 1992.<br>3 tomes réunis en 1 seul volume. Extraits de textes en latin avec la trad. anglaise en regard ainsi que des textes en espagnol. Les transcriptions en fin de volume sont celles de motets conservés à la Biblioteca Colombina de la Cathédrale de Séville (Sev-Bc 1) et à l'Archivo Capitular de Tarazona (Taraz-C 2-3). Bibliogr. p. 343-354.

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30

Dobbs, Benjamin Michael. "Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33142/.

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Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret sieb

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31

Dobby, Margaret. "Le Motet et l’Arbre de Jessé. Les pièces à deux voix sur la teneur FLOS FILIUS EJUS dans le codex W2." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5015/document.

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Les motets du XIIIe siècle chantés sur le répons Stirps Jesse forment l'apogée d'une tradition exégétique, iconographique et musicale plus connue sous le nom d'« arbre de Jessé ». Le répons, attribué à Fulbert de Chartres (mort en 1028), évoque de façon métaphorique les liens entre Marie et son Fils. Il rappelle ainsi un des fondements du dogme chrétien : l'Incarnation charnelle de Dieu par l'intermédiaire de la Vierge. Son utilisation dans les motets n'est donc pas anodine. Le Stirps Jesse, ou plus fréquemment la seconde partie de son verset FLOS FILIUS EJUS, a été repris et ordonné de façon

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32

Cassia, Cristina. "Les œuvres attribuées à Hesdin." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2004.

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Une trentaine d’oeuvres 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 oeuvres, de la dispersion des sources, mais aussi de la perception de sa musique au fil des siècles. L

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33

Rose-Steel, Tamsyn. "French Ars nova motets and their manuscripts : citational play and material context." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3313.

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The discussion of citation and allusion has become an important area of research in Medieval Studies. The application of postmodern intertextual theories has brought scholars to a deeper understanding of the reuse of borrowed material, shedding new light on a culture of music and literature that was once dismissed as dully repetitive. This thesis builds on this work by examining in depth the manner in which citation and allusion was deployed in the fourteenth-century motet. Motets are a particularly fertile ground for discussion of the reuse of material, drawing as they do on a range of citati

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34

POULOS, PETER S. "THE LIFE AND SACRED MUSIC OF SIMONE MOLINARO (ca 1570-1636), MUSICIAN OF GENOA." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100782272.

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35

LAMB, ROBERT E. "Michel-Richard de Lalande's In convertendo Dominus: A Performing Commentary." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155518518.

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36

Duclos, Marie-France. "A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE REGINA CAELI OF THE FRENCH BAROQUE PERIOD." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/141.

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The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux. Th

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37

Šich, Pavel. "Motel." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2014. http://www.nusl.cz/ntk/nusl-226701.

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The project was prepared with complete documentation of a new Motel at the level of building construction documentation. Motel has a capacity of 25 double beds and one single bed for the disabled. Built-up area is 984,2 square meters. Enclosure is designed as a flat roof. The supporting structure of the building consists of prefabricated reinforced concrete frame. Building design emphasizes on static solution and layout, fire safety, energy saving and safety of use. Drawings were processed in software for design - AutoCad

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38

Veselský, Jaroslav. "Motel." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240101.

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The subject of this diploma thesis is designing a new building of Motel in Mikulov in Moravia. The object is located near a road in the suburbs. The land is in a sloped terrain. The object has three aboveground floors. In the first floor there is a restaurant including a kitchen and the background. There are two barier free rooms for accommodation as well. In the second floor there are eight double rooms. In the western part of the object there is a multipurpose hall including its own backgroud. In this floor there are recreation rooms to be found – a library and a children’s club. The third f

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39

Beranová, Iveta. "Motel." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2017. http://www.nusl.cz/ntk/nusl-265638.

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The diploma thesis deals with the processing of project documentation. Specifically, the parts A, B, C, D.1.1 and D.1.3 of Annex 6 to Regulation No. 499/2006 Coll., On construction documentation, as amended by Decree No. 62/2013 Coll. The documentation refers to a motel with restaurant designed for 50 guests. The plot is located in Troubsko. The motel is divided into three separate buildings. In the main building is reception, restaurant with kitchen and offices. The building has ground floor and underground floor. The accommodation is divided into two one-storey buildings. The buildings are f

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40

Balthazart, Fabian. "Henry Madin. Traitement des lacunes dans l'orchestre des motets à grand chœur: Spécificités et problématiques d’une pratique entre science et art." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/217143.

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S'il est aujourd'hui moins connu que ses contemporains André Campra (1660-1744) ou Jean-Philippe Rameau (1683-1764), l'abbé Madin (1698-1748), selon Évrard Titon du Tillet « un des meilleurs compositeurs de ce siècle pour les motets », est une des figures les plus représentatives de la vie musicale sous Louis XV. Il fut, post mortem, le compositeur le plus joué à la Chapelle royale de Versailles. Comme une partie du répertoire de cette institution, ses motets à grand chœur nous sont parvenus sous forme de partitions réduites. Cet usage, propre à la musique française de l'Ancien Régime, consist

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41

Hammond, Bryce. "Transient Motel." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5640.

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“Transient Motel” is an exhibition that investigates the interactions of people and physical environments in low-income areas of Daytona Beach, Florida. The purpose of the exhibition is to raise social awareness of low-income communities among the public through visual art. Interactions between motel guests were documented as first-hand sound recordings of conversations, interviews and other activities. These recordings are projected through speakers within a constructed life-sized replica of the motel rooms in which they were recorded. Found and appropriated furniture and fixtures from the

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Ekberg, Kristoffer. "Kvinnotyperna på modet." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35998.

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Uppsatsen Kvinnotyperna på modet går igenom hur tidningen Charme hjälper till att skapa olika kvinnlighetstyper. Utifrån Judith Butlers teori om genus och queer performances ses bilder och text som exempel på hur en kvinnlighet formeras i tidningen Charme. En tidning som bara existerar mellan åren 1921-1933 och säger sig rikta sig till den moderna kvinnan. Hur kan denna moderna kvinna ha sett ut och på vilka sätt skiljer hon ut sig från andra typer av kvinnligheter? Exempel på kvinnlighets-skapande faktorer ges från dels arbete men även från nöjesliv och nationalitet.

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Seiferling, Steffen. "O felix templum jubila : Musik, Text und Zeremoniell in den Motetten Johannes Ciconias /." Berlin : Mensch & Buch, 2004. http://catalogue.bnf.fr/ark:/12148/cb40147064d.

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Faizand, de Maupeou Félicie. "Claude Monet et l'exposition." Rouen, 2013. http://www.theses.fr/2013ROUEL008.

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Moravec, Ladislav. "Motel u Novomlýnských nádrží." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2016. http://www.nusl.cz/ntk/nusl-240242.

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Diploma thesis deals with the complex design documentation of newly-built motel near the Novomlýnských ponds with separate buildings. The building is situated near the D52 motorway in the cadastral Perná. The motel is designed for temporary accommodation, eating and recreation. It is a two-storey building with flat roof and without a basement. Besides the main building, there are also four bungalows. The building is designed with traditional building materials. The hotel is desingned for visitors with limited mobility and orientation.

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Cichy, Andrew Stefan. "'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.

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Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions

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Chaney, Mark Allen. "Four motets from the Florilegium portense." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180461416.

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Davies, Rachel Lindley. "Marian aspects of Montpellier Codex motets." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4453/.

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This thesis explores the means by which, and the forms in which, the Virgin Mary and her medieval Cult are represented in the motets of the thirteenth-century northern French Montpellier Codex (Mo). It reveals how various musical and poetic techniques are used to worship and address the Virgin and to make her the central focus, even in works addressing apparently non-Marian aspects of Christianity. I demonstrate that the repertoire uses linguistic, musical, and numerical symbolism for Marian purpose, and consider how these symbols would have been understood by a medieval audience. This analyti

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Anthonioz, Anne-Marie Seme Mme. "Houdar de La Motte, auteur tragique." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595522z.

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Anthonioz, Anne-Marie. "Houdar de La Motte : auteur tragique." Paris 4, 1986. http://www.theses.fr/1986PA040039.

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Houdar de La Motte est un poète connu dans la littérature française pour ses fables, ses odes et sa traduction de l'Illiade qui relança la querelle des Anciens et des modernes dans les années 1714-1715. Il est moins connu comme auteur tragique, pourtant ses quatre tragédies, les Macchabées, Romulus, Ines de Castro et Oedipe connurent un succès assez considérable. Nous avons fait le portrait de la Motte en évoquant sa vie, sa carrière et ses oeuvres. Il a accompagné ses tragédies de discours dans lesquels il expose ses vues sur l'art dramatique et se montre un théoricien audacieux en proposant

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