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Thèses sur le sujet « Music theory History 16th century »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 27 janvier 2023

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1

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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2

Iler, Devin. "Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822783/.

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The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translatio

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3

Wood, Sienna M. "Chansons, madrigales and motetz a 3 parties by Noe Faignient| A Composer's Debut in 16th-Century Antwerp." Thesis, University of Colorado at Boulder, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3743677.

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<p>Chansons, madrigales & motetz a 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noe Faignient (c.1537-1578). This musical collection (henceforth CM&M a 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linkoping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient?s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the c

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4

Botelho, Lynn Ann. "English housewives in theory and practice, 1500-1640." PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.

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Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.

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5

Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.

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At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (

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6

莊小屛 and Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.

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7

Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including

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8

Flores, Carlos A. (Carlos Arturo). "Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.

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This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction

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9

Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than

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10

Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 1." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331433/.

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The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

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Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 2." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332450/.

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The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions.

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12

Raynes, Christopher David Harlow. "Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.

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The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixt

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13

South, James 1957. "References to Trumpet Music in the Battle Chansons of Clement Janequin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330664/.

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This paper is an examination of the battle chansons of Clement Janequin for references to Renaissance trumpet music. The following issues are addressed: dating the early use of the clarino register; the history and evolution of the courtly trumpet ensemble; and the transition from the shorter trumpet of the Middle Ages to the longer instrument of the middle Renaissance and Baroque eras. Because the earliest Janequin battle chanson predates all known written trumpet sources by over fifty years, musical evidence gleaned from these battle chansons can help to establish the existence and character

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14

Giselbrecht, Elisabeth Anna. "Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.

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15

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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16

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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17

Gámez, Hernández Carlos. "Le Nuove Musiche: Giovanni Battista Bovicelli?" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30458/.

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This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a

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18

Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and tr

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19

Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper con

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20

Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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21

Dumitrescu, Theodor. "The early Tudor court and international musical relations /." Aldershot [u.a.] : Ashgate, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016142806&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Revised Thesis (doctoral)--University of Oxford, 2004.<br>Foreign cultural models at the English royal court -- International events and musical exchanges -- Building a foreign musical establishment at the early Tudor court -- Anglo-continental relations in music manuscripts -- English music theory and the international traditions. Includes bibliographical references (p. [297]-315) and index.

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22

Potgieter, Johann Hendrik Loedolff Smuts. "The initial years (ca. 1528-1565) of Claude le Jeune : Huguent and musical humanist." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1007392.

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Claude Le Jeune (born at Valenciennes , ca. 1528; died at Paris, 1600) was a towering figure in French Renaissance music. In spite of this, few biographical details have survived the turmoils of his time , which was marked primarily by the Wars of Religion, the last years of the reign of the Valois, and the struggle of Henry IV for the crown of France. In order, therefore, to attain a more complete picture of Le Jeune's life and work, the general historical and spiritual background, circumstantial evidence, is considered more implicating much intensely than usual. The two dominating beacons in

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23

Dobbs, Benjamin M. "A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804836/.

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Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and

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24

Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.

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Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relations

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25

Daigle, Paulin. "Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.

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This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.<br>The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier

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26

McKay, John Zachary. "Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.

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Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatis

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Nelson, Bernadette. "The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century." Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:b736ca8f-0bb7-47a4-9ac4-2102b6cc3acb.

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Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the

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28

Keuchguerian, Anait. "Haydn's early symphonic development sections and eighteenth-century theories of modulation." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.

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The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established

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29

Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary". Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.

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The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these ch

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30

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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31

Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

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Karnes, Kevin C. "Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /." Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.

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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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34

Kim, Hae-Jeong. "Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278255/.

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This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This

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McAfee, Kay Roberts. "Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.

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This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for

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Beasley, Douglas William. "Mus. Ms. 1511b: A Historical Review of a Lute Manuscript in the Herwarth Collection at the Bavarian Library, Munich." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-4004.

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Gilday, Patrick E. "Musical thought and the early German Reformation." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:0ac3d705-c00e-4fc9-b90c-4902f9b54f8f.

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German musicology has customarily situated a paradigm shift in musical aesthetics some time during the first half of the sixteenth century. This dissertation examines the suggestion that German Reformation theology inspired a modern musical aesthetic. In Part One, the existing narrative of relationship between theological and musical thought is tested and rejected. Chapter 1 analyses twentieth-century music historians' positive expectation of commensurability between Luther's theological ideas and the sixteenth-century concepts of the musical work and musical rhetoric, concluding that their po

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Woodruff, Lawrence Theodore. "The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.

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While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphras

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Smith, Jacob H. "Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.

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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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Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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Wittmann, Luisa Tombini 1979. "Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.

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Orientador: John Manuel Monteiro<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-18T12:48:13Z (GMT). No. of bitstreams: 1 Wittmann_LuisaTombini_D.pdf: 9280509 bytes, checksum: 982a99d42f6dd98f9d11fbf5d1a2848b (MD5) Previous issue date: 2011<br>Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as r

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"Musica poetica in sixteeth-century reformation Germany." 2010. http://library.cuhk.edu.hk/record=b5896632.

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Wong, Helen Kin Hoi.<br>"December 2009."<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.<br>Includes bibliographical references (leaves 70-108).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>Acknowledgements --- p.iii<br>Introduction --- p.1<br>Chapter Chapter 1. --- Luther´ةs Ideas about Music: A Historical Precursor to Musica Poetica --- p.7<br>Luther´ةs Educational Background --- p.7<br>Luther´ةs Aesthetic --- p.11<br>The Greek Doctrine of Ethos --- p.12<br>Biblical Reference to Music --- p.13<br>Luther´ةs Parting with the Church Fathers --- p.15<br>The Pl

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Ethier, Glen Edward. "A methodology for the analysis of melodic accent in Renaissance sacred polyphony." Thesis, 1996. http://hdl.handle.net/2429/4836.

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Modern scholars have suggested various approaches to the analysis of the pretonal repertory. However, if we consider the question of how the individual voice parts interact in a Renaissance polyphonic composition to create coherence for the movement as a whole, we find that there are no tools available to undertake such a task. We may be able to speak generally of the arrival of certain moments as relatively accented or unaccented; we may even be able to dissect a complete melodic line with some segmentation process to highlight motivic structure, phrase development or contou

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Wagner, Samantha J. "A new perspective on David Lewin's interval function : the symmetrical IFUNC array." 2012. http://liblink.bsu.edu/uhtbin/catkey/1671229.

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This paper expands on the work of David Lewin, whose seminal work Generalized Musical Intervals and Transformations proposes, among other functions, the interval function or IFUNC. The interval function catalogs the type and number of directed pitchclass intervals between two different pitch-class sets. This paper proposes the concept of the IFUNC array, an ordered sequence of twelve digits representing the IFUNC values for an interval i = 0–11, reading either left to right or clockwise around a circle. It explores features of the interval function, including symmetry in the IFUNC array, and i

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E'Silva, Jorge Hayes. "The river conguest : colonial encounter in the N' dongo Kingdom of Central West Africa." Diss., 2011. http://hdl.handle.net/10500/5543.

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Portuguese global expansion was initiated by the capture of Cueta in 1415. Voyages of discovery along the West African coast ensued, resulting in the conquest and colonisation of the N’Dongo Kingdom. This dissertation comprises an archaeological survey of the Lusitanian Empire in the Republic of Angola. The Portuguese first established a settlement at Luanda in 1576, after which they set forth into the interior, following the Kwanza River upstream. The strategy for conquest was to take possession of the river with the objective to control the indigenous population, subjugate the N’gola, and, u

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E'Silva, Jorge Hayes. "River of Conquest : colonial encounters in the N' dongo Kingdom of Central West Africa." Diss., 2011. http://hdl.handle.net/10500/5543.

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Portuguese global expansion was initiated by the capture of Cueta in 1415. Voyages of discovery along the West African coast ensued, resulting in the conquest and colonisation of the N’Dongo Kingdom. This dissertation comprises an archaeological survey of the Lusitanian Empire in the Republic of Angola. The Portuguese first established a settlement at Luanda in 1576, after which they set forth into the interior, following the Kwanza River upstream. The strategy for conquest was to take possession of the river with the objective to control the indigenous population, subjugate the N’gola, and, u

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