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 Degree Discipline: Musicology
A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages

A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages

Date: July 1971
Creator: Simmons, Sandra K. (Sandra Kay)
Description: The problem with which this investigation is concerned is that of comparing the medieval musical traditions of two of the world's most influential religions. The similarities are discussed in two major categories: the comparison of liturgical texts and ritual, and the comparison of the music appearing in each ritual. This study has one main purpose. That purpose is to demonstrate how, through musical traditions, each religion has developed through the influence of the other. Samples of the liturgies from the musical portions of the services were obtained from prayer books and references dealing with those religions. Investigations of English translations from the Latin and Hebrew revealed a close identity between the two, not only in scriptural uses, but also in prayers and responses. Musical examples demonstrating similar elements in Hebrew and Christian worship were found in the extensive research of A. Z. Idelsohn and Eric Werner. Due to the dispersal of world Jewry, the best examples of Hebrew medieval music were obtained from the most isolated Jewish communities, such as those of Yemen, Musical similarities included modes, melodic formulas, and hymns and songs. This report concludes that the musical portions of the services of Christianity and Judaism in the Middle ...
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Representative Nineteenth-Century Choral Symphonies

Representative Nineteenth-Century Choral Symphonies

Date: December 1971
Creator: Alexander, Metche Franke
Description: This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.
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A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga

A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga

Date: December 1972
Creator: Barrera, Xavier
Description: This study is a translation of and commentary on an eighteenth-century treatise written by Juan Miguel Urtasun de Yrarraga. Its purpose is to contribute to the field of knowledge of eighteenth-century Spanish materials, making an original work of that era accessible to the reader unfamiliar with the Spanish language.
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Dramatic Expression in Thirty Musical Settings of Goethe's "Der Erlkonig"

Dramatic Expression in Thirty Musical Settings of Goethe's "Der Erlkonig"

Date: May 1973
Creator: McDaniel, Mary Eileen
Description: This study is an investigation of the dramatic expression in thirty musical settings of Goethe's "Erlkonig," to attempt to determine why the works by Franz Schubert and Carl Loewe have achieved such popularity.
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The Prodromus Musicalis of Sébastian de Brossard

The Prodromus Musicalis of Sébastian de Brossard

Date: May 1973
Creator: Bolton, Thomas W. (Thomas Wayne)
Description: Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included ...
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'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II

'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II

Date: December 1974
Creator: Wallace, Barbara K.
Description: 'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.
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An Edition of Verse and Solo Anthems by William Boyce

An Edition of Verse and Solo Anthems by William Boyce

Date: August 1975
Creator: Fansler, Terry L.
Description: The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.
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Busoni's Doktor Faust

Busoni's Doktor Faust

Date: August 1976
Creator: Harrison, Charles Scott
Description: It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic.
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The String Quartets of Franz Berwald

The String Quartets of Franz Berwald

Date: May 1977
Creator: Coffman, Randall Edson
Description: This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.
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Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"

Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"

Date: May 1979
Creator: Peacock, Daniel F.
Description: The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.
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The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

Date: May 1979
Creator: Knox, Robert E., Jr.
Description: The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.
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San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala

San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala

Date: August 1979
Creator: Garven, Richard O.
Description: The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.
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The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England

The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England

Date: August 1984
Creator: Carnes, James Patrick
Description: Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.
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Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)

Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)

Date: August 1984
Creator: Pinegar, Sandra
Description: This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.
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Anton Bruckner's Treatment of the Credo Text in His Last Three Masses

Anton Bruckner's Treatment of the Credo Text in His Last Three Masses

Date: December 1985
Creator: Lee, Namjai
Description: In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies.
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English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture

English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture

Date: May 1986
Creator: Treacy, Susan
Description: Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest ...
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The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9

The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9

Date: December 1986
Creator: Chang, Sangtae
Description: Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.
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Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music

Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music

Date: December 1987
Creator: Hebda, Paul Thomas
Description: This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these ...
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A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800

A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800

Date: December 1987
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)
Description: Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
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The Full Anthems and Services of John Blow and the Question of an English Stile Antico

The Full Anthems and Services of John Blow and the Question of an English Stile Antico

Date: August 1990
Creator: King, Deborah Simpkin
Description: John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences ...
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The Christmas Cantatas of Christoph Graupner (1683-1760)

The Christmas Cantatas of Christoph Graupner (1683-1760)

Date: August 1992
Creator: Schmidt, René R.
Description: An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt.
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The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960

The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960

Date: August 1993
Creator: McCall, Sarah B.
Description: Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of ...
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Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music

Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music

Date: December 1993
Creator: Miller, Harry A. W. (Harry Alfred Werner)
Description: The musicians in E. T. A. Hoffmann's tales and essays demonstrate traits remarkably similar to those of shamans. Hoffmann uses the same imagery to describe the journey of the composer into the "realm of dreams," where he receives inspiration, as the shaman uses to describe the spirit world to which he journeys via music. Hoffmann was a major force in changing the 18th-century view of music as an "innocent luxury" to the 19th-century idea of music as a higher art. As a German Romantic,author, he subscribed to the idea championed by the Schlegels that true poetry is based on myth. In this thesis, Hoffmann's writings are compared with shamanic mythology to demonstrate a similarity beyond mere coincidence, without drawing conclusions about influence.
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Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Date: May 1994
Creator: Browne, Marilyn K. (Marilyn Kay)
Description: The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
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