This document provides annotations for 12 references related to research on settings of the Magnificat, including books, articles, scores, and a database. It describes the types of information found in each reference, such as discussions of historical compositions, analytical descriptions of musical styles, catalogs of manuscript sources, and bibliographies of other resources on sacred vocal music. Many of the references provide historical overviews of the Magnificat as a musical setting and discuss facets like geographical traditions, prominent composers, and manuscript provenance. The document serves as a guide for exploring various paths of research on the Magnificat.
This document provides summaries of four books in the Library of Essays on Music Performance Practice series published by Ashgate.
The first book summarized is on medieval music performance practice and contains essays on topics like plainchant performance, rhythm in medieval songs, and instruments and voices in medieval French music.
The second book focuses on Baroque music performance practice and includes key essays on topics such as historical instruments, pitch and temperament, technique and style, and debates around the early music movement.
The third book collects essays on classical and romantic music performance practice, drawing from recent journal articles on subjects like aesthetics, historical sources, instruments, ensembles, conducting, tempo, and notation practices.
The final book summarized
The Renaissance period saw the development of new vocal and instrumental music forms between 1400-1600. In vocal music, the mass and motet were important Catholic forms while the Protestant Reformation brought new styles like the chorale. Secular music like the chanson also grew in popularity. Instrumental music featured new instruments like viols, lutes, recorders, and organs. Important composers during this period included Josquin Desprez, Johannes Ockeghem, Giovanni Palestrina, William Byrd, Giovanni Gabrielli, and Orlando Gibbons.
The Renaissance period saw the development of new vocal and instrumental music forms between 1400-1600. In vocal music, the mass and motet were important Catholic forms while the Protestant Reformation brought new styles like the chorale. Secular music like the chanson also grew in popularity. Instrumental music featured new instruments like viols, lutes, recorders, and organs. Important composers during this period included Josquin Desprez, Johannes Ockeghem, Giovanni Palestrina, William Byrd, Giovanni Gabrielli, and Orlando Gibbons.
The document provides information about several periods and genres in classical music history:
- The Medieval period saw the rise of the Christian church's influence over music in Europe. Monophonic plainchant, led by Pope Gregory I, became the approved music of the Catholic church.
- Adam de la Halle was a French composer and poet during the Medieval era known for works like "Le Jeu de Robin et de Marion".
- The Renaissance period saw a revival and rediscovery of classical Greek and Roman music. The emergence of the printing press helped spread Renaissance compositions more widely. Lute was a prominent instrument of the time.
The document discusses the transition from the Classical period to the Romantic period in music. It describes how orchestras grew larger during the Classical period and even more so during the Romantic period. Composers in the Classical period focused on complexity and technical demands for performers, which continued into the Romantic period along with a new emphasis on expressing emotion through music.
The document provides an overview of music from the Medieval period (c. 476-1400 CE). It discusses the main characteristics of Medieval music, including its sacred and secular nature, use of plainchant and polyphony, modal rather than tonal harmonies, and free rather than metered rhythms. Key figures and genres of the time are also outlined, such as Hildegard von Bingen, Landini, Machaut, and the Mass. The Medieval period saw the earliest developments of musical notation and major architectural landmarks like Notre Dame Cathedral.
The Renaissance period saw developments in music composition and instrumentation. Composers gained more artistic freedom and styles such as polyphonic music became prominent. Sacred music like masses and motets remained important, while secular forms like the chanson and madrigal also grew in popularity. A variety of instruments were used, including strings, woodwinds, brass and keyboards. Ensemble music featured small chamber groups rather than large orchestras. Dance music remained an important genre.
This document provides summaries of four books in the Library of Essays on Music Performance Practice series published by Ashgate.
The first book summarized is on medieval music performance practice and contains essays on topics like plainchant performance, rhythm in medieval songs, and instruments and voices in medieval French music.
The second book focuses on Baroque music performance practice and includes key essays on topics such as historical instruments, pitch and temperament, technique and style, and debates around the early music movement.
The third book collects essays on classical and romantic music performance practice, drawing from recent journal articles on subjects like aesthetics, historical sources, instruments, ensembles, conducting, tempo, and notation practices.
The final book summarized
The Renaissance period saw the development of new vocal and instrumental music forms between 1400-1600. In vocal music, the mass and motet were important Catholic forms while the Protestant Reformation brought new styles like the chorale. Secular music like the chanson also grew in popularity. Instrumental music featured new instruments like viols, lutes, recorders, and organs. Important composers during this period included Josquin Desprez, Johannes Ockeghem, Giovanni Palestrina, William Byrd, Giovanni Gabrielli, and Orlando Gibbons.
The Renaissance period saw the development of new vocal and instrumental music forms between 1400-1600. In vocal music, the mass and motet were important Catholic forms while the Protestant Reformation brought new styles like the chorale. Secular music like the chanson also grew in popularity. Instrumental music featured new instruments like viols, lutes, recorders, and organs. Important composers during this period included Josquin Desprez, Johannes Ockeghem, Giovanni Palestrina, William Byrd, Giovanni Gabrielli, and Orlando Gibbons.
The document provides information about several periods and genres in classical music history:
- The Medieval period saw the rise of the Christian church's influence over music in Europe. Monophonic plainchant, led by Pope Gregory I, became the approved music of the Catholic church.
- Adam de la Halle was a French composer and poet during the Medieval era known for works like "Le Jeu de Robin et de Marion".
- The Renaissance period saw a revival and rediscovery of classical Greek and Roman music. The emergence of the printing press helped spread Renaissance compositions more widely. Lute was a prominent instrument of the time.
The document discusses the transition from the Classical period to the Romantic period in music. It describes how orchestras grew larger during the Classical period and even more so during the Romantic period. Composers in the Classical period focused on complexity and technical demands for performers, which continued into the Romantic period along with a new emphasis on expressing emotion through music.
The document provides an overview of music from the Medieval period (c. 476-1400 CE). It discusses the main characteristics of Medieval music, including its sacred and secular nature, use of plainchant and polyphony, modal rather than tonal harmonies, and free rather than metered rhythms. Key figures and genres of the time are also outlined, such as Hildegard von Bingen, Landini, Machaut, and the Mass. The Medieval period saw the earliest developments of musical notation and major architectural landmarks like Notre Dame Cathedral.
The Renaissance period saw developments in music composition and instrumentation. Composers gained more artistic freedom and styles such as polyphonic music became prominent. Sacred music like masses and motets remained important, while secular forms like the chanson and madrigal also grew in popularity. A variety of instruments were used, including strings, woodwinds, brass and keyboards. Ensemble music featured small chamber groups rather than large orchestras. Dance music remained an important genre.
The document discusses the history of Western music from the Medieval period through the Renaissance. It describes Gregorian chant as the dominant form of music during the Medieval period. The Medieval period saw the development of polyphony, or multiple, simultaneous musical lines. Notation also progressed from unnotated chant to the beginnings of the modern musical staff. The document outlines the two main eras of Medieval music—Ars Antiqua and Ars Nova—and their key composers and innovations. Secular music developed as well through troubadours and other performers.
Medieval music developed between 450-1450 CE as Christianity spread across Europe. Music was primarily for the church, with Gregorian chant dominating. Notation developed in the 9th century, allowing for polyphony. Secular courtly music also arose, including songs by troubadours. Musical styles included monophonic and early polyphonic styles, with long melodies, drones, and dissonances in polyphony. Key composers included Hildegard von Bingen, Moniot d'Arras, and Guillaume de Machaut.
The document provides information about music from the Medieval, Renaissance, and Baroque periods. It discusses the prominent genres, styles, and composers that characterized each musical era. The Medieval period saw the rise of monophonic Gregorian chants and secular Troubadour songs. The Renaissance brought polyphonic masses, madrigals, and prominent composers like Palestrina. The Baroque era featured elaborate and ornamental styles, new genres like the concerto and fugue, and influential composers such as Bach, Vivaldi, and Handel.
The document discusses the Western influence on the music cultures of India, China, and Russia. It focuses on the role of Christian missionaries and native converts as "intermediary actors" who introduced Western hymns and music and modified them according to local tastes and traditions. Regarding Russia specifically, the document notes that Western classical music was initially dominated by foreign musicians at the Russian imperial court but that composers like Glinka incorporated Russian folk elements, sparking a nationalist movement. The "Mighty Five" group and the Russian Musical Society both embraced and resisted Western influences in different ways.
Gregorian chant is a type of religious singing that originated from Pope Gregory I in the Middle Ages. It involves monks singing the same notes without harmony. The monastery of Santo Domingo de Silos is famous for its Gregorian chant performances. The earliest musical notation involved writing signs called "neums" above words, which later evolved to using a four-line musical staff. Characteristics of Gregorian chant include being performed in Latin by male monks a cappella without instruments, with a free rhythm and all singers performing the same melody.
Sacred music had become more complex with the development of musical notation, but it had also become harder to understand as composers stretched out syllables and included multiple voices singing different texts. Additionally, composers were borrowing tunes from popular music, including dirty songs. At the Council of Trent in the 1540s-1560s, the Catholic Church discussed reforms to address issues raised by the Protestant Reformation, including concerns about the understandability and secular influences of polyphonic sacred music. The Council banned the use of secular melodies but allowed polyphony to continue if composed in a clearer homophonic style exemplified by Palestrina's Pope Marcellus Mass.
The Baroque period lasted from 1600-1750. Common Baroque instruments included the organ, harpsichord, and stringed instruments. Key Baroque composers were Johann Sebastian Bach, known for his organ music and marking the end of the period; George Frideric Handel, who composed vocal works and lived mainly in England; and Antonio Vivaldi, the son of a violinist who composed The Four Seasons. During this period, scientists like Galileo and Newton made discoveries about the natural world using new instruments such as the telescope and microscope. The first permanent British colony in North America was established in Jamestown in 1607 during the Baroque era.
The document provides information about a lesson on the music of the Medieval, Renaissance, and Baroque periods. It discusses performance practices, prominent composers from each period like Palestrina and Bach, and genres of music like the mass, madrigal, and motet. Learning tasks assess knowledge of classifying composers by period and understanding key facts about the historical development of Western music.
The Baroque period of music ranged from 1685-1750. Some of the great composers of this era included Handel, Bach, Monteverdi, and Vivaldi. Common musical genres during this period were the concerto, concerto grosso, fugue, oratorio, and chorale. The oratorio differed from opera in that it was usually performed without costumes, scenery, or action, and was often written in the native language of the intended audience.
Grade 9 Music 1st Grading align to MELC 2020Eynah Pinon
The document provides an overview of Medieval, Renaissance, and Baroque music. It describes Gregorian chant from the Medieval period as monophonic and without notation for rhythm, tempo, or dynamics. Troubadour music is characterized as being performed by travelling musicians for nobility. The Renaissance saw the rise of secular music like madrigals, with vocal music becoming more important than instrumental. The Baroque period saw the development of opera and instrumental music like the orchestra and fugue.
This document discusses Queen Kapi'olani's lei chants, a set of poems composed in her honor. There is some uncertainty around which poems belong to this set based on inconsistencies across archival sources. The document analyzes primary sources to try to determine the true membership of the set. It also discusses the cultural context and performance traditions surrounding these types of chant compositions in the late 19th century Hawaiian kingdom.
The Baroque period of music lasted from around 1685 to 1750. During this time, music became more elaborate and ornamental. New techniques like major and minor tonality were developed, and instruments like the harpsichord and organ were commonly used. Some common musical forms that emerged in this period include the concerto, fugue, oratorio, and chorale. Famous Baroque composers included [COMPOSER NAMES], and the period saw the development of new genres like the concerto grosso and changes to musical notation that are still used today.
During the Medieval period from 500-1400 CE:
- The Catholic Church was the dominant political and spiritual force in Europe and controlled education. Music was taught at cathedral schools and universities.
- Most composers were members of the clergy or nobility and held additional roles like administrators or diplomats, as full-time musicians were rare.
- The earliest notated music from this era was Gregorian chant, which was monophonic and lacked rhythm or meter notation. Major developments included the emergence of polyphony like organum in the Notre Dame school under composers Leonin and Perotin.
The document provides an overview of pre-Baroque music from antiquity through the Gothic era and Middle Ages. It discusses the rise of polyphonic music in the Gothic era based on octaves, fifths, and fourths. Important composers from this period are mentioned. The document also outlines the development of medieval music including genres like chant, organum, liturgical drama, and styles associated with troubadours and trouvères. Key periods like Ars antiqua and Ars nova are summarized.
This document provides background information on André Raison's Messe du premier ton, a 17th century organ mass composition. It discusses Raison's life and career as an organist devoted entirely to the Catholic church. It examines the monastic influence on Raison from his time at religious institutions. The document also analyzes characteristics of Raison's composition, including its preservation of plainchant styles and inclusion of movements often excluded by other composers. While some scholars view Raison's work as containing secular influences, this document aims to highlight the sacred aspects through its structure and reflection of the liturgy.
U hebt mooie ideeën om de beste winkel-, werk-, leer-, productie- of zorgomgeving te creëren voor uw gebruikers. Dat betekent in veel gevallen bouwen, verbouwen, transformeren of renoveren. En nu zoekt u de juiste partners die uw ideeën samen met u het beste kunnen vertalen naar de realiteit.
Hoe weet u of u de beste partners kiest voor het waarmaken van uw ideeën? Wie levert de meeste toegevoegde waarde voor het beschikbare budget? En hoe ontdek je dat al in een zo vroeg mogelijk stadium?
In deze presentatie legt BAM uit hoe de samenwerking met een ronde tafel er in de praktijk uitziet.
Meer info: www.rondetafelmetbam.nl
Eric Ortiz has over 10 years of experience in customer service and technical support roles. He is currently a Customer Support Representative at Nerium International, where he handles inbound and outbound calls to assist customers. Previously, he has worked at Yardi Systems providing technical support for multiple websites and handling customer maintenance requests. Ortiz has also held roles in quality control and software support at Samsung, C-E X-change, and Celestica, where he inspected electronics and updated phone software. He has strong skills in Microsoft Office, data entry, technical support, and is bilingual in English and Spanish. Ortiz has an associate's degree in Computer Science from Brookhaven College.
Este documento describe los conceptos fundamentales del equilibrio hidroelectrolítico, incluyendo la clasificación de disoluciones, electrolitos, concentración, osmolaridad y fluidoterapia. Explica que el agua es esencial para los procesos bioquímicos y que las disoluciones pueden ser iónicas o moleculares dependiendo de si el soluto se disocia o no. También define los tipos de electrolitos, unidades de concentración y el proceso de dilución. Finalmente, resume los usos y efectos de las sol
Considerations for an Effective Internal Model Method Implementationaccenture
In this Accenture Finance & Risk presentation we discuss an approach banks can use to develop, manage, and monitor a robust and effective Internal Model Method program. Learn more about the Accenture Finance & Risk Practice: bit.ly/2j2JD6X
The Medieval Period, also known as the Middle Ages or Dark Ages, started with the fall of the Roman Empire. During this time, the Christian Church influenced Europe’s culture and political affairs. Monophonic plainchant was named after Pope Gregory I, who made it the approved music of the Catholic Church. Adam de la Halle was a prominent composer from this time, known for works like Le Jeu de Robin et de Marion.
The document discusses the history of Western music from the Medieval period through the Renaissance. It describes Gregorian chant as the dominant form of music during the Medieval period. The Medieval period saw the development of polyphony, or multiple, simultaneous musical lines. Notation also progressed from unnotated chant to the beginnings of the modern musical staff. The document outlines the two main eras of Medieval music—Ars Antiqua and Ars Nova—and their key composers and innovations. Secular music developed as well through troubadours and other performers.
Medieval music developed between 450-1450 CE as Christianity spread across Europe. Music was primarily for the church, with Gregorian chant dominating. Notation developed in the 9th century, allowing for polyphony. Secular courtly music also arose, including songs by troubadours. Musical styles included monophonic and early polyphonic styles, with long melodies, drones, and dissonances in polyphony. Key composers included Hildegard von Bingen, Moniot d'Arras, and Guillaume de Machaut.
The document provides information about music from the Medieval, Renaissance, and Baroque periods. It discusses the prominent genres, styles, and composers that characterized each musical era. The Medieval period saw the rise of monophonic Gregorian chants and secular Troubadour songs. The Renaissance brought polyphonic masses, madrigals, and prominent composers like Palestrina. The Baroque era featured elaborate and ornamental styles, new genres like the concerto and fugue, and influential composers such as Bach, Vivaldi, and Handel.
The document discusses the Western influence on the music cultures of India, China, and Russia. It focuses on the role of Christian missionaries and native converts as "intermediary actors" who introduced Western hymns and music and modified them according to local tastes and traditions. Regarding Russia specifically, the document notes that Western classical music was initially dominated by foreign musicians at the Russian imperial court but that composers like Glinka incorporated Russian folk elements, sparking a nationalist movement. The "Mighty Five" group and the Russian Musical Society both embraced and resisted Western influences in different ways.
Gregorian chant is a type of religious singing that originated from Pope Gregory I in the Middle Ages. It involves monks singing the same notes without harmony. The monastery of Santo Domingo de Silos is famous for its Gregorian chant performances. The earliest musical notation involved writing signs called "neums" above words, which later evolved to using a four-line musical staff. Characteristics of Gregorian chant include being performed in Latin by male monks a cappella without instruments, with a free rhythm and all singers performing the same melody.
Sacred music had become more complex with the development of musical notation, but it had also become harder to understand as composers stretched out syllables and included multiple voices singing different texts. Additionally, composers were borrowing tunes from popular music, including dirty songs. At the Council of Trent in the 1540s-1560s, the Catholic Church discussed reforms to address issues raised by the Protestant Reformation, including concerns about the understandability and secular influences of polyphonic sacred music. The Council banned the use of secular melodies but allowed polyphony to continue if composed in a clearer homophonic style exemplified by Palestrina's Pope Marcellus Mass.
The Baroque period lasted from 1600-1750. Common Baroque instruments included the organ, harpsichord, and stringed instruments. Key Baroque composers were Johann Sebastian Bach, known for his organ music and marking the end of the period; George Frideric Handel, who composed vocal works and lived mainly in England; and Antonio Vivaldi, the son of a violinist who composed The Four Seasons. During this period, scientists like Galileo and Newton made discoveries about the natural world using new instruments such as the telescope and microscope. The first permanent British colony in North America was established in Jamestown in 1607 during the Baroque era.
The document provides information about a lesson on the music of the Medieval, Renaissance, and Baroque periods. It discusses performance practices, prominent composers from each period like Palestrina and Bach, and genres of music like the mass, madrigal, and motet. Learning tasks assess knowledge of classifying composers by period and understanding key facts about the historical development of Western music.
The Baroque period of music ranged from 1685-1750. Some of the great composers of this era included Handel, Bach, Monteverdi, and Vivaldi. Common musical genres during this period were the concerto, concerto grosso, fugue, oratorio, and chorale. The oratorio differed from opera in that it was usually performed without costumes, scenery, or action, and was often written in the native language of the intended audience.
Grade 9 Music 1st Grading align to MELC 2020Eynah Pinon
The document provides an overview of Medieval, Renaissance, and Baroque music. It describes Gregorian chant from the Medieval period as monophonic and without notation for rhythm, tempo, or dynamics. Troubadour music is characterized as being performed by travelling musicians for nobility. The Renaissance saw the rise of secular music like madrigals, with vocal music becoming more important than instrumental. The Baroque period saw the development of opera and instrumental music like the orchestra and fugue.
This document discusses Queen Kapi'olani's lei chants, a set of poems composed in her honor. There is some uncertainty around which poems belong to this set based on inconsistencies across archival sources. The document analyzes primary sources to try to determine the true membership of the set. It also discusses the cultural context and performance traditions surrounding these types of chant compositions in the late 19th century Hawaiian kingdom.
The Baroque period of music lasted from around 1685 to 1750. During this time, music became more elaborate and ornamental. New techniques like major and minor tonality were developed, and instruments like the harpsichord and organ were commonly used. Some common musical forms that emerged in this period include the concerto, fugue, oratorio, and chorale. Famous Baroque composers included [COMPOSER NAMES], and the period saw the development of new genres like the concerto grosso and changes to musical notation that are still used today.
During the Medieval period from 500-1400 CE:
- The Catholic Church was the dominant political and spiritual force in Europe and controlled education. Music was taught at cathedral schools and universities.
- Most composers were members of the clergy or nobility and held additional roles like administrators or diplomats, as full-time musicians were rare.
- The earliest notated music from this era was Gregorian chant, which was monophonic and lacked rhythm or meter notation. Major developments included the emergence of polyphony like organum in the Notre Dame school under composers Leonin and Perotin.
The document provides an overview of pre-Baroque music from antiquity through the Gothic era and Middle Ages. It discusses the rise of polyphonic music in the Gothic era based on octaves, fifths, and fourths. Important composers from this period are mentioned. The document also outlines the development of medieval music including genres like chant, organum, liturgical drama, and styles associated with troubadours and trouvères. Key periods like Ars antiqua and Ars nova are summarized.
This document provides background information on André Raison's Messe du premier ton, a 17th century organ mass composition. It discusses Raison's life and career as an organist devoted entirely to the Catholic church. It examines the monastic influence on Raison from his time at religious institutions. The document also analyzes characteristics of Raison's composition, including its preservation of plainchant styles and inclusion of movements often excluded by other composers. While some scholars view Raison's work as containing secular influences, this document aims to highlight the sacred aspects through its structure and reflection of the liturgy.
U hebt mooie ideeën om de beste winkel-, werk-, leer-, productie- of zorgomgeving te creëren voor uw gebruikers. Dat betekent in veel gevallen bouwen, verbouwen, transformeren of renoveren. En nu zoekt u de juiste partners die uw ideeën samen met u het beste kunnen vertalen naar de realiteit.
Hoe weet u of u de beste partners kiest voor het waarmaken van uw ideeën? Wie levert de meeste toegevoegde waarde voor het beschikbare budget? En hoe ontdek je dat al in een zo vroeg mogelijk stadium?
In deze presentatie legt BAM uit hoe de samenwerking met een ronde tafel er in de praktijk uitziet.
Meer info: www.rondetafelmetbam.nl
Eric Ortiz has over 10 years of experience in customer service and technical support roles. He is currently a Customer Support Representative at Nerium International, where he handles inbound and outbound calls to assist customers. Previously, he has worked at Yardi Systems providing technical support for multiple websites and handling customer maintenance requests. Ortiz has also held roles in quality control and software support at Samsung, C-E X-change, and Celestica, where he inspected electronics and updated phone software. He has strong skills in Microsoft Office, data entry, technical support, and is bilingual in English and Spanish. Ortiz has an associate's degree in Computer Science from Brookhaven College.
Este documento describe los conceptos fundamentales del equilibrio hidroelectrolítico, incluyendo la clasificación de disoluciones, electrolitos, concentración, osmolaridad y fluidoterapia. Explica que el agua es esencial para los procesos bioquímicos y que las disoluciones pueden ser iónicas o moleculares dependiendo de si el soluto se disocia o no. También define los tipos de electrolitos, unidades de concentración y el proceso de dilución. Finalmente, resume los usos y efectos de las sol
Considerations for an Effective Internal Model Method Implementationaccenture
In this Accenture Finance & Risk presentation we discuss an approach banks can use to develop, manage, and monitor a robust and effective Internal Model Method program. Learn more about the Accenture Finance & Risk Practice: bit.ly/2j2JD6X
The Medieval Period, also known as the Middle Ages or Dark Ages, started with the fall of the Roman Empire. During this time, the Christian Church influenced Europe’s culture and political affairs. Monophonic plainchant was named after Pope Gregory I, who made it the approved music of the Catholic Church. Adam de la Halle was a prominent composer from this time, known for works like Le Jeu de Robin et de Marion.
Tracing the history of Western sacred music from the Old Testament to the Baroque Era, three main points emerge. First, Christian music has undergone much change but always returns to glorifying God. Second, Jewish music traditions heavily influenced early Christian music. Third, Gregorian chant inspired much Western music until the 16th century and remains central to Catholic liturgy.
The document discusses research strategies for studying the Magnificat, including relevant subject facets, libraries and resources to explore, and reference tools to consult. It outlines general strategies like using library catalogs, dictionaries, bibliographies, and discographies. Specific resources mentioned that would aid research are the International Societies, special archives, the Catholic University of America libraries, Grove Music Online, Oxford Music Online, and bibliographies on music reference materials, Magnificat settings, and German sacred music. Facets of research include religious significance, performances, history, geography, and modern forms.
The Renaissance was a period between 1450-1600 that saw a rebirth of interest in arts, science, and humanism. It began in Italy and spread throughout Europe. Significant events included advances in art by figures like Da Vinci and Michelangelo, the invention of the printing press, and the Protestant Reformation led by Martin Luther challenging the Catholic Church. Music developed increasingly complex polyphony, or multiple interweaving melodic lines, as well as a greater focus on setting religious and secular texts clearly.
INTRODUCING THE HISTORY OF WESTERN MUSIC Grade 9 LLM 1-MUSIC.pptSaint Joseph College
This document provides an overview of Western music history from the Medieval period to the Baroque period. It introduces Gregorian chants from the Medieval period and the emergence of polyphonic music in the Renaissance. Characteristics and examples of music genres on each historical period are discussed, along with brief biographies of influential composers such as Palestrina, Morley, Vivaldi, Bach and Handel. The objectives and review of key musical elements like harmony, rhythm, melody and dynamics are also outlined.
This document provides an overview of Western music history from the Medieval period to the Baroque period. It introduces Gregorian chants from the Medieval period and the emergence of polyphonic music in the Renaissance with composers like Palestrina and Morley. Characteristics of Baroque music such as elaborate melodies, dynamic contrast, and new genres like concerto and fugue are also outlined. Biographies of prominent composers from each period like Adam de la Halle, Vivaldi, Bach and Handel are included to exemplify the evolution of Western music over time. Musical elements like harmony, rhythm, melody, and dynamics are also defined.
The document provides information about Western music history from the Medieval, Renaissance, and Baroque periods. It discusses the characteristics of music from each period and some of the prominent composers. The Medieval period saw the development of Gregorian chant and secular Troubadour music. The Renaissance period featured the rise of polyphonic music like the mass and madrigal. The Baroque period introduced new instrumental techniques and tonality, as well as genres like the concerto and fugue. Famous composers mentioned include Giovanni Palestrina, Thomas Morley, Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.
The document discusses the troparia and kontakia, which are variable hymns sung in the Byzantine liturgy. It explains that on ordinary Sundays, one of eight series of resurrectional troparia and kontakia is sung, following the proper musical mode or tone for that week. It also describes how troparia and kontakia can be specific to saints, days of the week, or special occasions. Precise rules govern how different sets are combined based on liturgical precedence. The origins of Christian hymnody drew from Hebrew psalms and incorporated new types of hymns over time, though private compositions were later discouraged due to heresy risks.
The Renaissance period saw a rebirth of knowledge and interest in the arts and sciences. Important figures like Christopher Columbus, Michelangelo, and William Shakespeare were active during this time. Johannes Gutenberg also invented the printing press, allowing for quicker distribution of documents. Vocal music flourished through styles like madrigals and motets, with prominent composers including Palestrina, des Prez, Monteverdi, and Gabrielli. Texture in music referred to layers of melodic lines, ranging from solely monophonic to polyphonic and homophonic styles.
This document provides an overview of music from the Renaissance period between 1400-1600. It discusses the development of polyphony that characterized this era. Sacred music such as the motet and mass are described. Secular forms like Burgundian and Parisian chansons and Italian madrigals emerged. The document also provides biographies of two important Renaissance composers, Giovanni Pierluigi da Palestrina, known as the "Prince of Music" and Thomas Morley, an English composer who contributed to the development of the English madrigal.
The document summarizes the history of Western classical music from the Medieval period to the Baroque period. It describes Gregorian chants from the Medieval era and Troubadour music. The Renaissance era saw the development of polyphonic music like masses and madrigals. Key composers during this time included Palestrina and Morley. The Baroque period was characterized by elaborate melodies, dynamic contrast and new genres like the concerto and fugue. Major Baroque composers featured are Bach, Vivaldi and Handel, known for works like Brandenburg Concertos, The Four Seasons and Messiah.
Music of the Medieval, Renaissance, Baroque musicMariyah Ayoniv
The document summarizes the history of Western classical music from the Medieval period to the Baroque period. It describes Gregorian chants as the dominant sacred music of the Medieval era, characterized by monophonic, free meter and modal styles. Secular Troubadour music originated in France, usually monophonic with stories of love and chivalry. The Renaissance saw the rise of polyphonic styles like masses and madrigals. Famous composers of this time included Palestrina, known for church music, and Thomas Morley, a writer of madrigals. The Baroque period featured elaborate instrumental music and ornamentation. Major composers highlighted are Bach, known for organ and choral works, Vivaldi and
The document discusses Renaissance vocal music, focusing on sacred and secular genres from the 16th century Golden Age of Polyphony. It profiles several influential composers of the time including Giovanni Pierluigi da Palestrina, who had a lasting influence on the development of church music; Tomás Luis de Victoria, one of the most important composers of the Counter Reformation; and Michael Praetorius, a German composer who influenced the development of musical forms based on Protestant hymns. It also discusses English madrigal composer Thomas Morley and Spanish poet and composer Juan del Encina, providing musical excerpts from their works to illustrate the genres of the period.
GRADE 9 RENAISSANCE MUSIC FOR THE FIRST QUARTER
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If you want to have a copy of this presentation, just email me at roxannelynredrico@gmail.com
This document discusses Renaissance vocal music genres such as the Mass, Motet, Lutheran chorale, and Anglican anthem in sacred music. It profiles influential 16th century composers including Giovanni Pierluigi da Palestrina, known as the best representative of the Roman School and considered the culmination of Renaissance polyphony. Tomas Luis de Victoria was one of the most important Counter Reformation composers along with Palestrina and Lasso. Secular genres discussed include the Spanish villancico and romance, English madrigal, German lied, and Italian villanella. Thomas Morley was the most famous composer of secular music in Elizabethan England, and Juan del Encina was a pioneering Spanish composer who published a collection of dramatic poems
This document discusses the genres and composers of Renaissance vocal music. It focuses on sacred vocal music such as the Mass, Motet, and Lutheran chorale composed by Palestrina, Victoria, and Praetorius. It also discusses secular vocal music like the Madrigal, Villancico, and Lied, highlighting English Madrigal composer Thomas Morley and Spanish Villancico composer Juan del Encina. The document provides brief biographies of these composers and includes musical excerpts from works like Palestrina's Pope Marcello Mass and Victoria's motet Magi Viderunt Stellam.
The document summarizes Renaissance vocal music genres, including sacred and secular styles. It provides details on prominent composers such as Palestrina, Victoria, Praetorius, Morley, and Encina. Palestrina was an influential Italian composer of masses and motets, considered the best representative of the Roman School. Victoria was a famous 16th century Spanish composer and student of Palestrina. Praetorius was a versatile German composer and organist who influenced Protestant hymn forms. Morley was a leading English madrigalist. Encina was a Spanish poet and composer included in important song collections of the 15th century.
The document provides information about medieval and Renaissance music between 700-1600 AD. It discusses the Gregorian chant as the dominant form of monophonic sacred music during the Medieval period. Characteristics of Renaissance music included polyphony, imitation between voices, and the emergence of secular music. Famous composers from this era mentioned are Adam de la Halle from France and Thomas Morley from England. The document also gives a brief overview of the Baroque period from 1600-1750, describing stylistic elements like elaborate melodies and counterpoint. Major composers highlighted are Bach, Vivaldi, and Handel known for works like Brandenburg Concertos, The Four Seasons, and Messiah.
The document provides information about medieval and Renaissance music between 700-1600 AD. It discusses the Gregorian chant as the dominant form of monophonic sacred music during the Medieval period. Characteristics of Renaissance music included polyphony, imitation between voices, and the emergence of secular music. Famous composers from this era mentioned are Adam de la Halle and Thomas Morley. The document then shifts to the Baroque period from 1600-1750 AD, noting developments in instrumentation, tonality, and music genres such as concerto grosso and fugue. Key composers highlighted are Bach, Vivaldi, and Handel.
KM Reference Group Meeting - July 10- PowerPoint SlidesElizabeth McLean
The document discusses how tagging content today can increase access to that content tomorrow. It argues that tagging at the point of content creation is the least expensive way to organize information and connect knowledge assets, people, and experts. Various types of tags are described, from private to social to automatic. Tagging empower contributors and personalizes access by allowing users to find and apply relevant content. Challenges to adopting and maintaining tagging practices are also addressed.
Knowledge and Concept Mapping: Context to ContentElizabeth McLean
Depict complex tacit and explicit knowledge and context
Reflect how separate facets integrate or influence outcomes
Connect and display areas of influence, challenges
Illustrate concepts, process and knowledge flow around “Focus Question”
Promote new knowledge and learning - apply for improved outcomes
Temporal, artifact, iterative
Knowledge and Concept Mapping: Context for Our ContentElizabeth McLean
Depict complex tacit and explicit knowledge and context
Reflect how separate facets integrate or influence outcomes
Connect and display areas of influence, challenges
Illustrate concepts, process and knowledge flow around “Focus Question”
Promote new knowledge and learning - apply for improved outcomes
Temporal, artifact, iterative
I constructed this presentation on behalf of Blane Dessy. This was a part of the CUA SLIS "Bridging the Spectrum" Symposium Feb 25 2011. Content from CUA SLIS LSC Management syllabus, from Sarah Bard and Elizabeth McLean.
Ontology: Intro to Interoperability Methods to Improve Access to CollectionsElizabeth McLean
Parachute perspective on the functional role Ontology tools now serve in improving access to areas of knowledge that are growing in interdisciplinary complexity. Presentation serves to show big picture role of Ontology for LIS professionals.
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptx
Magnificat: Research and Bibliographic Resources
1. Elizabeth F. McLean
LSC831-Final Project
Fall 2009
The Magnificat: Facets and Research Paths
“The Magnificat is such a beautiful prayer that the Church uses it every day at Evening Prayer, in the Liturgy of the
Hours. It perfectly summarizes Mary's faith and trust in God and is also the longest direct quote from any woman in
the New Testament. In the Women's Bible Commentary, author Jane Schaberg writes: "The Magnificat is the great
New Testament song of liberation—personal and social, moral and economic—a revolutionary document of intense
conflict and victory." (McCloskey, 2004. http://www.americancatholic.org/Messenger/May2004/Wiseman.asp)
The sacred vocal setting of Luke 1, 46-55 has been a recurring compositional subject
throughout the liturgical music history of the Roman Catholic religion. Apart from the Ordinary
of the Mass, the Magnificat was the liturgical setting most often rendered polyphonically from
the mid-15th century to the beginning of the 17th. From the earliest of mass settings, because the
Magnificat holds such liturgical significance for the church, the text is used daily at Evening
Prayer in the Liturgy of the Hours and is part of the Gospel for the Feast of the Visitation, May
31. Catholic and early Protestant music liturgists sought new settings often to match modes of
the other mass parts on hand. It is a subject complete with all facets of musicological study and
offers us an interesting example today of the resources that can point us to some of the oldest or
newest works, settings, modalities, voicings & textures, performers or performance practices,
composers and geographies, manuscripts, scores and recordings.
1. Music Reference and Research Materials: An Annotated Bibliography. Edited by
Vincent H. Duckles, Ida Reed and Michael A. Keller. 5th ed. New York: Schirmer
Books, 1997.
The Sacred Music section contains recommendations for additional references located in various
handbooks on hymnology since bibliographies of writings on Sacred Music are surprisingly few.
One entry specific indexed as Magnificat (separate part in work) is a single source bibliography
on the subject, in German. Study of this resource can show you what is abundant and what is not
to further inform you on narrowing or broadening subject direction. Great place to begin research
of a topic for undergraduate, graduate or DMA students as well as life-long learners and faculty.
Balanced finding aid to mix of handbooks, sources, liturgical guides, theses and dissertations in
Sacred Music, texts, international bibliographies, and geographic or religion subject areas. Also
points to Dictionaries of musical themes by index reference to the subject of Oratorios. Useful to
familiarize the researcher with the facets of the subject of study.
2. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
2. Ruth Steiner, et al. "Magnificat." In Grove Music Online. Oxford Music Online, http://
www.oxfordmusiconline.com/subscriber/article/grove/music/40076 (accessed
December 15, 2009).
Subject entry with summary of the form of the Magnificat, its style periods, liturgical and
compositional practices. Edited by Magnificat subject experts (e.g. Kirsch, Steiner) who appear
in Duckles and later in this bibliography. Article provides a basis from which to examine
specific facets after establishing an understanding of the bigger picture. Mentions specific
works, and three key factors of the development of form and style which lent the Magnificat
setting in a mass part a distinct character apart from other forms or mass parts in the same mass.
Discusses compositional settings of selected composers throughout the history of the canticle,
highlighting for each style period the greater works and their composers. Has separate
bibliography sections for Monophonic references and Polyphonic references with finding aid to
additional bib references under Canticle and Divine Office.
3. Kirsch, Winfried. The Sources of Polyphonic Magnificat and Te Deum Settings Until
the Middle of the 16th Century [Die Quellen der Mehrstimmigen Magnificat-und Te
Deum-Vertonungen bis zur Mitte de 16.Jahrhunderts]. Tutzing: Verlag Hans Schneider,
1966.
This is the only referenced bibliography by Vincent Duckles in his single subject entry for
Magnificat. The author of this work, which is in German, is an author of the polyphonic section
of the Grove subject entry. Examines polyphonic Latin, German and instrumental Magnificat
works. Includes a chronological list of composers, countries and languages. Organized by
general sources, specific sources and examines vocal texts and forms, verses and tablatures. Part
two is a thematic catalog of Magnificat sources including incipits. Sources are listed
alphabetically and include manuscripts and prints. Appendix includes German abbreviations.
4. Walker, Diane Parr and Paul Walker. German Sacred Polyphonic Vocal Music between
Schütz and Bach; Sources and Critical Editions. Michigan: Harmonie Park Press, 1992.
Catalogs still existing German sacred vocal music for three or more voices from the second half
of the seventeenth century, inclusive of end of the Thirty Years War in 1648 to the beginning of
the careers of Bach and Handel in about 1700. For this time frame the work covers all German
speaking lands and also includes several Italian composers who spent their careers primarily or
entirely in German cities. This bibliography is intended for scholars who wish to study the music
and for performers of the works. Anonymous works have only been included when they are
clearly members of the chronological and geographical frameworks. Sources in this collection
fall into three types: manuscript; published collections of works by individual composers; and
published commemorative pamphlets containing event specific historic information. Individual
German manuscripts come from four sources: the collection of the Erfurt Michaeliskirche and
the collection of the Konigliche Landesshule in Grimma. Parts from these two major collections
still display annotations for performance and dates. The other two sources of manuscripts used in
this resource are the Bokemeyer collection (Berlin) and the Duben collection (Uppsala). The
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source is organized alphabetically by composer and includes this information: Title of work,
instruments, liturgical occasion, source location (number in RISM or REICH), modern editions,
and notes. Following the introduction is a very easy to read bibliography of modern editions
cited, with next a listing of older literature cited (which is quite extensive).
5. Martini, Johannes, Murray Steib, and Johannes Brebis. Sacred Music. Part 1 Hymns,
Magnificats, Motets and Passions. Middleton, Wis: A-R Editions, 2009.
Each edition in Recent Researches is devoted to works by a single composer or to a single genre,
in this example that genre of interest is the sacred form Magnificat (Mary's Canticle, Mary's
Song). This reference contains nine Magnificats, six composed by Johannes Martini (d. 1497)
and one composed by Johnannes Brebis (d.1479), and two anonymous works which are
considered to be either attributable to Brebis or Martini. There is further description of the
Magnificats compiled in the introduction section on the subject. Evaluation of the Sources is
included in this Introduction section, and this delves deeply into the provenance of the sources,
citing the earliest of the sources of the Magnificats to be dated ca 1472-77 (Trent C91), the latest
source (DresSL1/D/505) was copied ca.1510-1530. The reference includes a section on editorial
methods titled Critical Commentary which describes methods of transcription, how note values
have been reduced by half, modern clefs have been utilized and bar lines have been added to
denote measures of one breve duration. Incipits are provided which include the name of the voice
part, its clef, key, initial mensuration sign, and the first note or ligature as found in the primary
source. Faulx bourdon is not written out in the original sources, but in this edition has been
marked. In the Magnificats, where the chant melody repeats with differing syllables, editorial
parentheses have been added. Original clef is used in the chant sections. All editorial accidentals
are indicated above the staff. Translations are provided as a subset of the Critical Commentary
section, primary sources for these are noted at the beginning of the textual translation from native
(Latin) to English. An example for the Magnificat 1. toni "primary source. ModE M.1.11, fol.
42v. – text source Luke 1:46-55". This critical commentary section provides the scholar or
researcher a way to look at primary sources with explanation for the abbreviations in this section.
Additionally the resource lists a section in the Contents titled "Notes on Performance (xvii) and
includes a section of Plates (xl).
6. Sharp, Avery T. and James Michael Floyd. Choral Music: A Research and Information
Guide. Routledge Music Bibliographies. New York: Routledge, 2002.
Annotated bibliography of book-length monographs and bibliographies, selected dissertations,
works lists, choral music journals, databases and web sites pertaining to Choral music
information in the Western tradition. Useful for conductors, scholars and researchers.
Bibliographical reference guide divided into eight main sections, with additional appropriate
subsections, with cross-references. Scope notes place most of the material as published or
reprinted in the time frame between 1960 - 2000, with a few landmark works from earlier
publication dates. Emphasis is placed on compiling works in English, with additional
identification of important studies in German, French, Italian and Spanish, the greater number of
these being in German.
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1. General Music Reference (Dictionaries and Encyclopedias, Bibliographies of Music
Literature, Indices of Literature and Periodicals, dissertations and master's theses,
performance practice
2. Choral Music Reference (same items above only specifically aimed at Choral works
including Special and Subject Bibliographies of Choral Music)
3. Choral and Church Music Periodicals
4. Choral Technique
5. Surveys of Choral Music, Sacred and Secular
6. Studies of Choral Genres (Magnificat page 142)
7. Studies of Individual Composers and Works,
8. Choral Music Web Sites
This reference bibliography includes a subject index, author index and title index. The
individual composers with works selected are: Bach, Beethoven, Brahms, Byrd, Handel, Haydn,
Mendelssohn-Bartholdy, Palestrina, Purcell and Michael Tippett. Conductors can seek by genre.
7. Hill, George R. and Norris L. Stephens. Collected Editions, Historical Series and Set,
and Monuments of Music. Berkeley: Fallen Leaf Press, 1997.
This is the reference for historical sets and collected editions that is recommended by Laurie
Sampsel as the easiest to use and the one with the most complete listings. It is arranged by
Library of Congress subject headings. The online version is recommended as the best available
source for finding music monuments and historical sets (M2s). Index to Printed Music is the
online subscription based version and the advanced search option is recommended for best
results. Lists complete works’ citations only which include author, title and series entries with
cross references. Updated quarterly, with over 9,300 citations and include composition titles,
sometimes cross references are confusing. Hill & Stephens edition is a descendant of Heyer’s
work of 1980 titled Historical Sets, Collected Editions, and Monuments of Music: A Guide to
their Contents (3rd ed, 2 vols.). Because the online IPM has not completely migrated all content
from Heyer and Hill’s editions, it is recommended to check all of these to locate individual
works within some series.
8. RISM Online: Series A/II, Music Manuscripts after 1600. EBSCO Publishing, 2002-.
http://www.ebscohost.com/thisTopic.php?marketID=1&topicID=1121
RISM documents what exists and where it is stored. A comprehensive annotated index and
guide to the world’s music manuscripts or printed music, literature about theory and libretti from
the period of 1600 to 1850. Founded in Paris in 1952. Serves as a finding aid for the locations
which range from libraries, archives, monasteries, schools and private collections. This is the
only international entity that comprehensively catalogs musical sources. This source would be
ideal for the researcher who is looking for a geographic variety as a facet of interest. Contains
more than 620,000 manuscript records by over 22,500 composers found in over 800 libraries and
archives in 32 countries. Browse the index according to: Key, Language, Library Name, Library
Sigla, Literature Sigla (code representing secondary sources cited), Names (composer, variations
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on composer name, author, provenance, arranger), Role, Title (title of the manuscript), Limiters:
Document Type and year of publication.
Reference-source Authority files: Composers, Library Sigla, and Literature.
9. Kaut, Thomas. "Die Lieder Des Magnifikat Lk 1, 46-55." Chap. 5., In Befreier Und
Befreites Volk: Traditions-Und Redaktionsgeschichtliche Untersuchung Zu Magnifikat
Und Benedictus Im Kontext Der Vorlukanishen Kindheitsgeschchte. Vol. 77, 266-329.
Frankfurt: Anton Hain, 1990.
This work, published initially as a dissertation, is found in the Theology subject area and is
entirely in German. It provides a section devoted to the Magnificat and opens this section with
debate about how liturgically the veneration of Mary came to be. The work here is interesting
from the sociological facets of the religious cultural developments and arguments about what has
evolved. Contains numerous footnotes of sources of religious cites and musical cites. Takes the
topic from the religious, liturgical perspective first, musical aspects are secondary.
10. Hawkshaw, Paul. Psalmen Und Magnificat Resionsbericht Anton Bruckner. Anton
Bruckner Gesamtausgabe - Musikwissenschaftlicher Verlag Der Int. Bruckner-
Gesellschaft Wien. [Musicological publication of the International Bruckner Society].
Edited by Leopold Nowak. revised ed. Vol. 20der Int. Bruckner Gesellschaft Wien,
2002.
German bibliographic sources and writings and manuscript drafts, with an English introduction.
The Magnificat in this resource is dated with certainty to the summer of 1852, with notes about
the circumstances of the composition itself, performances, discussion about how the parts
provide valuable insight to the composer concerns in his early years as a performer of his own
music. This reference has bibliographic source entries that include letters from the composer,
drafts and copies of the composers works, with other notes about how sources were being
preserved and planned for publication through the auspices of the Music Collection of the
Austrian National Library. Has a companion score published for review in a separate record.
11. Cooper, David Edwin. International Bibliography of Discographies. Keys to Music
Bibliography. No. 2 ed. Littleton Colorado: Libraries Unlimited Inc., 1975.
C160 Choral music. Part 1 of this source addresses classical music with three sections: 1)general
guides buyers guides, and subjects / genres; 2) classical historical recordings with a label
discography; and 3) by classical composer or performer. Discographies serve a function similar
to that of the song indexes for score anthologies, and provide access to information about
individual tracks that would not necessarily be found in the main Title record. This source is not
annotated and contains about 1,900 entries. At the end of the book is a summary of national
discographies, catalogs and major review sources organized by country. Be sure to check on
online service such as NAXOS in addition to this work, as the publication is dated. Any
researcher of the subject should listen as well as learn, but discographies offer insights of
historical and musicological nature.
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12. Naxos. Naxos Music Library. http://www.naxosmusiclibrary.com (Accessed November
2009).
Subscription digital streaming audio service, largest available. Figures At A Glance
Disc Count: 38,905
Track Count: 556,773
as of December 16, 2009
Representing about 7,000 composers. Styles are diverse, includes independent labels. A
researcher can search for liner notes and/or obtain a package that includes digital scores from
Sheet Music Now. Ideal for easy location of recording to listen while doing all that reading! Try
the Monteverdi after first logging in via the CUA Music Library.
13. Bach, Johann Sebastian. Magnificat in D and the Six Motets in Full Score. Compiled by
Stanley Applebaum. Dover ed. New York: Dover Publications, Inc., 1995.
Music full score for study. Editors published bibliographical note referencing back to primary
sources, dates, and what differences in editing are included in this Dover edition. Any student
who is reading and listening on the topic needs to view a score like this one – a representational
composition of one of the most famous of Magnificats.
14. Fernandez, Gaspar. El Magnificat [Magnificat]. Guatemala: Universidad Rafael
Landivar, 2002.
Musical score for SI, SII, A, B. Original work composed in Santiago de Guatemala in 1602.
This edition revised by Dieter Lenhoff, 1985/2002. Preceding the composition is a two page
writing in Spanish about the work and the composer, his life, dates and the text setting.
Interesting representation of the form from a country we don’t often study. Bibliography has
cites from music history sources of Guatemala and Lisbon, Madrid.
15. ProQuest. Dissertations Abstracts International. Ann Arbor, MI: UMI, 2005 -.
http://proquest.umi.com.proxycu.wrlc.org/login?
COPT=REJTPUcyODcrM2IwZiZTTUQ9NCZJTlQ9MCZWRVI9Mg==&clientId=3
1807 (Accessed December 15, 2009)
Subscription based dissertation index for CUA Music Library. UMI is the designated official US
repository for electronic theses and dissertations (ETDs). Use keyword searching in combination
with either “music” or “music education” (music education is not applicable in our project).
Dissertations from CUA may be downloaded for free. Others maybe partially viewed or
delivered for a fee. The important aspects of researching ETD indices or databases is to learn
more about the sources accessed in the writing on the topic, to see how much has or has not been
covered on the specialized aspects of the topic.
A list of dissertations that I located guided by references to them follows in Appendix A.
Researchers will see a variety of possible topics and embedded sources for any narrowing facets
of interest for this broad topic.
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16. CUA Librarians. "Religious Studies and Humanities Web Search."
http://libraries.cua.edu.proxycu.wrlc.org/relicoll/websearch.html (accessed December
12, 2009).
Web search interface site with Google Custom Search functionality - search for information on
web sites authenticated by a Religious Studies and Humanities CUA librarian. Not for books or
journal articles. A search on the subject Magnificat returned top results from Open Library.org,
memory.loc.gov, clerus.org, loc.gov/exhibits & Stanford.edu. This is a survey of the first page
of several pages results set. Demonstrates another resource that is available here at CUA for
some initial broad information seeking. Not to be used as a comprehensive tool, but an
augmentation tool.
17. Catalano, Peter. “Concerts Everywhere: Boston - Musica Sacra: Pinkham "Magnificat"
[Premiere]." American Record Guide 67, no. 4 (July; July-August 2004, 2004): 40-1,
http://gateway.proquest.com.proxycu.wrlc.org/openurl?
url_ver=Z39.88-2004&res_dat=xri:iimp:&rft_dat=xri:iimp:article:citation:iimp0032738
7.
Reviews the premiere production of the church music "Magnificat" for choir, soprano soloist
and wind quintet, composed by Daniel Pinkham and performed by the Musica Sacra chamber
ensemble at the First Congregational Church in Boston, Massachusetts on March 20, 2004.
Discusses the occasion for the performance, the composer's 80th birthday. Describes the
Boston ensemble Musica Sacra's performance, the genesis of the Magnificat's text, reviews
metric and harmonic intricacies. Interesting to read for consideration of modern American
composers, premiers, and the subject form enduring to our current time and country.
Selection of the Magnificat as a subject for further scholarly research is a broad, deep and rich
tapestry of potential facets to explore further. The monophonic and polyphonic forms of the
early Magnificats contrast hugely with more contemporary settings such as John Rutter or
Daniel Pinkham. Countries all around the globe have composers who have rendered this
treasured canticle setting using their unique musical attributes but remaining steadfast to the
text historically. Treatment of form, modalities, voicings, instrumentation, performance
practices, performers and even the study of the composers themselves all offer potential
direction for further review.
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Elizabeth F. McLean
December 15, 2009
The present day resources at our disposal, whether digital or manuscripts, all have something
important to tell us about this enduring, simple but spiritually powerful Mary’s Song. Choose
a variety of types of sources when assembling the threads of your tapestry and don’t forget to
do a lot of listening!
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Elizabeth F. McLean
December 15, 2009
Bibliography
Music Reference and Research Materials: An Annotated Bibliography. Edited by Vincent H.
Duckles, Ida Reed and Michael A. Keller. 5th ed. New York: Schirmer Books, 1997.
Bach, Johann Sebastian. Magnificat in D and the Six Motets in Full Score. Compiled by Stanley
Applebaum. Dover ed. New York: Dover Publications, Inc., 1995.
Banta, Carolyn Jane. Psalm, Three Motets, and Magnificat by Boesset. D.M.A., University of
Missouri - Kansas City, 1995, http://proquest.umi.com/pqdweb?
did=741128331&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Bloesch, Richard John. The Eighteenth-Century Italian Magnificat: A Survey of Representative
Settings (Ca. 1700 - Ca. 1750) with an Analysis and Edition of Six Works. D.M.A.,
University of Illinois at Urbana-Champaign, 1971, http://proquest.umi.com/pqdweb?
did=757590201&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Borton, Bruce Erol. The Sacred Choral Works of Domenico Scarlatti (Italy). D.M.A., University
of Cincinnati, 1983, http://proquest.umi.com/pqdweb?
did=753569961&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Bowen, Richard Leon. Tonal Structure in the Polyphonic Magnificat of the Sixteenth Century.
Ph.D., University of Cincinnati, 2001, http://proquest.umi.com/pqdweb?
did=728446171&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Cammarota, Robert Michael. The Repertoire of Magnificats in Leipzig at the Time of J. S. Bach:
A Study of the Manuscript Sources. (Volumes i and Ii). Ph.D., New York University, 1986,
http://proquest.umi.com/pqdweb?
did=753676351&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Carver, Anthony F. Cori Spezzati. [Split Choirs.]. Vol. 1 & 2. Cambridge England: Cambridge
University Press, 1988.
Catalano, Peter. “Concerts Everywhere: Boston - Musica Sacra: Pinkham "Magnificat"
[Premiere]." American Record Guide 67, no. 4 (July; July-August 2004, 2004): 40-1, http://
gateway.proquest.com.proxycu.wrlc.org/openurl?
url_ver=Z39.88-2004&res_dat=xri:iimp:&rft_dat=xri:iimp:article:citation:iimp00327387.
Cooper, David Edwin. International Bibliography of Discographies. Keys to Music
Bibliography. No. 2 ed. Littleton Colorado: Libraries Unlimited Inc., 1975.
Crook, David W. "Orlando Di Lasso's Magnificats Ad Imitationem. Ph.D., Princeton University,
1991, http://proquest.umi.com/pqdweb?
did=747139691&Fmt=7&clientId=31807&RQT=309&VName=PQD.
9 of 40
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10. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Crutchfield, Jonathan Eric. A Conductor's Analysis of Gerald Finzi's "Intimations of
Immortality"; "Lo, the Full, Final Sacrifice"; and "Magnificat. D.M.A., The Southern
Baptist Theological Seminary, 1994, http://proquest.umi.com/pqdweb?
did=741946201&Fmt=7&clientId=31807&RQT=309&VName=PQD.
CUA Librarians. Religious Studies and Humanities Web Search.
http://libraries.cua.edu.proxycu.wrlc.org/relicoll/websearch.html (accessed December 12,
2009).
Davison, Joseph Frederick,III. Ancient Texts, New Voices. D.M.A., University of California, Los
Angeles, 2002, http://proquest.umi.com/pqdweb?
did=764705421&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Dougherty, M. Exegesis and Eisegesis: The Choral Composer as Scriptural Interpreter with
Special Reference to Settings of "the Magnificat. D.M.A., The University of North Carolina
at Greensboro, 2008, http://proquest.umi.com/pqdweb?
did=1650504271&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Eaton, Frank Allen. The Origins of Cantus Firmus used in the English Magnificat from the
Fourteenth to the Seventeenth Centuries. D.M.A., University of Washington, 1987,
http://proquest.umi.com/pqdweb?
did=752321961&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Ferlazzo, Edgar Louis,Jr. The Shorter Sacred Choral Works of Herbert Norman Howells.
D.M.A., Southwestern Baptist Theological Seminary, 1997,
http://proquest.umi.com/pqdweb?
did=736601261&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Fernandez, Gaspar. El Magnificat [Magnificat]. Guatemala: Universidad Rafael Landivar, 2002.
Fleitas-Gonzalez, Patricia. A Study of Selected Choral Works of Heitor Villa-Lobos. D.M.A.,
The University of Texas at Austin, 1996, http://proquest.umi.com/pqdweb?
did=739423481&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Garcia, Maria Marcela. Music from the Old World Preserved in the New World: A Transcription
with Analysis of Rodrigo De Ceballos's Magnificat Cycle on the Eight Tones, as found in
Bogota, Colombia. Ph.D., University of Oregon, 2002, http://proquest.umi.com/pqdweb?
did=765050081&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Green, Francis Marion."Magnificats of Orlandus Lassus. D.M.A., University of Southern
California, 1968, http://proquest.umi.com/pqdweb?
did=756733391&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Grigsby, John Roland. A Study of the Magnificat and an Analysis and Performance of Selected
Settings. Educat.D., Columbia University, 1972, http://proquest.umi.com/pqdweb?
did=757677181&Fmt=7&clientId=31807&RQT=309&VName=PQD.
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11. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Hawkshaw, Paul. Psalmen Und Magnificat Resionsbericht Anton Bruckner. Anton Bruckner
Gesamtausgabe - Musikwissenschaftlicher Verlag Der Int. Bruckner-Gesellschaft Wien.
[Musicological publication of the International Bruckner Society]. Edited by Leopold
Nowak. revised ed. Vol. 20der Int. Bruckner Gesellschaft Wien, 2002.
Hill, George R. and Norris L. Stephens. Collected Editions, Historical Series and Set, and
Monuments of Music. Berkeley: Fallen Leaf Press, 1997.
Johnson, Axie Allen."Choral Settings of the Magnificat by Selected Twentieth Century American
Composers. D.M.A., University of Southern California, 1968,
http://proquest.umi.com/pqdweb?
did=756116501&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Johnson, Robert Manley. The Magnificats of Francisco Lopez Capillas (1615-1673), Mexico
City Cathedral 'Maestro Di Capill'. D.M.A., Arizona State University, 1990,
http://proquest.umi.com/pqdweb?
did=747118411&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Jordan, Cheri Brown. Settings of the "Magnificat" for the Female Solo Voice: Recital Document.
D.M.A., Southwestern Baptist Theological Seminary, 1985,
http://proquest.umi.com/pqdweb?
did=749045881&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Jurgensmeier, Charles Lee. The Magnificat in D Major, BWV 243 by Johann Sebastian Bach: A
Study in Performance and Analysis. D.M.A., University of Southern California, 2000, http://
proquest.umi.com/pqdweb?
did=954109731&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Kaut, Thomas. Die Lieder Des Magnifikat Lk 1, 46-55." Chap. 5., In Befreier Und Befreites
Volk: Traditions-Und Redaktionsgeschichtliche Untersuchung Zu Magnifikat Und
Benedictus Im Kontext Der Vorlukanishen Kindheitsgeschchte. Vol. 77, 266-329. Frankfurt:
Anton Hain, 1990.
Kirsch, Winfried. The Sources of Polyphonic Magnificat and Te Deum Settings Until the Middle
of the 16th Century [Die Quellen der Mehrstimmigen Magnificat-und Te Deum-
Vertonungen bis zur Mitte de 16.Jahrhunderts]. Tutzing: Verlag Hans Schneider, 1966.
Martini, Johannes, Murray Steib, and Johannes Brebis. Sacred Music. Part 1 Hymns,
Magnificats, Motets and Passions. Sacred Music. Middleton: A-R Editions, 2009.
McCloskey O.F.M, Father P. "Basis for the Magnificat." American Catholic.org.
http://www.americancatholic.org/Messenger/May2004/Wiseman.asp (accessed December
15, 2009).
11 of 40
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Elizabeth F. McLean
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Mccray, James Elwin. The British Magnificat in the Twentieth Century. Ph.D., The University of
Iowa, 1968, http://proquest.umi.com/pqdweb?
did=756710871&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Ouvrard, Jean-Pierre. Magnificat Primi Toni. Palestrina. . Compact disc notes. 2002.
Pereira, Hoffmann Urquiza. A Conductor's Study of Villa-Lobos's "Magnificat-Alleluia" and
"Bendita Sabedoria. D.M.A., Louisiana State University and Agricultural & Mechanical
College, 2005, http://proquest.umi.com/pqdweb?
did=885697181&Fmt=7&clientId=31807&RQT=309&VName=PQD.
ProQuest. "Dissertation Abstracts International." ProQuest.
http://proquest.umi.com.proxycu.wrlc.org/login?
COPT=REJTPUcyODcrM2IwZiZTTUQ9NCZJTlQ9MCZWRVI9Mg==&clientId=31807
(accessed December 15, 2009).
Semingson, John Wesley. Compositional Techniques in Monteverdi's Magnificats: Their
Relationship to Text and Changing Aesthetics. D.M.A., The University of Alabama, 2002,
http://proquest.umi.com/pqdweb?
did=765121931&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Sharp, Avery T. and James Michael Floyd. Choral Music: A Research and Information Guide.
Routledge Music Bibliographies. New York: Routledge, 2002.
Smith, James Arthur. "The 16 Magnificats of Cristobal De Morales: Elements of Style and
Performance Practice." D.M.A., The University of Texas at Austin, 1976,
http://proquest.umi.com/pqdweb?
did=756452711&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Steiner, Ruth, Falconer, Keith, Kirsch, Winfried and Bullivant, Roger. "Magnificat." Oxford
Music Online.
http://www.oxfordmusiconline.com.proxycu.wrlc.org/subscriber/article/grove/music/40076
#F921219 (accessed December 15, 2009).
Walker, Diane Parr and Paul Walker. German Sacred Polyphonic Vocal Music between Schutz
and Bach; Sources and Critical Editions. Michigan: Harmonie Park Press, 1992.
Wherry, Mark Emery. An Analysis of Magnificat Settings by Selected American Composers
since 1960. D.A., University of Northern Colorado, 2002, http://proquest.umi.com/pqdweb?
did=727403541&Fmt=7&clientId=31807&RQT=309&VName=PQD.
Wojcicka, Lucy. The Magnificats by Tomas Luis De Victoria in Toledo Biblioteca Capitular MS.
B-30 a Comparison with the Printed Editions (1576, 1581 and 1600). M.A., University of
Calgary (Canada), 1989, http://proquest.umi.com/pqdweb?
did=767351361&Fmt=7&clientId=31807&RQT=309&VName=PQD
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Fall 2009
Appendix A – A selection of Dissertation/Theses for Consideration
Ref ID: 86
Dissertation/Thesi
s (Electronic)
Reference
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Magnificat Vie
w Edit
14. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
A
conductor'
s study of
Villa-
Lobos's
"Magnific
at-
Alleluia"
and
"Bendita
Sabedoria"
Authors:
Pereira,Ho
ffmann
Urquiza
Source:
2005, 223,
Louisiana
State
University
and
Agricultur
al &
Mechanica
l College,
United
States --
Louisiana,
D.M.A.
Ref ID: 87
Dissertation/Thesi
s (Electronic)
Reference
13 of 43
Magnificat Vie
w Edit
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15. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
An
analysis of
Magnificat
settings by
selected
American
composers
since 1960
Authors:
Wherry,M
ark Emery
Source:
2002, 260,
University
of
Northern
Colorado,
United
States --
Colorado,
D.A.
Ref ID: 88
Dissertation/Thesi
s (Electronic)
Reference
14 of 43
Magnificat Vie
w Edit
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16. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
Ancient
texts, new
voices
Authors:
Davison,Jo
seph
Frederick,I
II
Source:
2002, 54,
University
of
California,
Los
Angeles,
United
States --
California,
D.M.A.
Ref ID: 89
Dissertation/Thesi
s (Electronic)
Reference
15 of 43
Magnificat Vie
w Edit
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17. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
Compositi
onal
techniques
in
Monteverd
i's
Magnificat
s: Their
relationshi
p to text
and
changing
aesthetics
Authors:
Semingson
,John
Wesley
Source:
2002, 107,
The
University
of
Alabama,
United
States --
Alabama,
D.M.A.
Ref ID: 90
Dissertation/Thesi
s (Electronic)
Reference
16 of 43
Magnificat Vie
w Edit
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18. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
Music
from the
Old World
preserved
in the New
World: A
transcripti
on with
analysis of
Rodrigo de
Ceballos's
Magnificat
cycle on
the eight
tones, as
found in
Bogota,
Colombia
Authors:
Garcia,Ma
ria
Marcela
Source:
2002, 270,
University
of Oregon,
United
States --
Oregon,
Ph.D.
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Elizabeth F. McLean
December 15, 2009
Ref ID: 91
Dissertation/Thesi
s (Electronic)
Reference
17 of 43
Magnificat
View Edit
Title:
Tonal
structure
in the
polyphoni
c
Magnificat
of the
sixteenth
century
Authors:
Bowen,Ric
hard Leon
Source:
2001,
1178,
University
of
Cincinnati,
United
States --
Ohio,
Ph.D.
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20. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 92
Dissertation/Thesi
s (Electronic)
Reference
18 of 43
Magnificat
View Edit
Title:
The
Magnificat
in D
Major,
BWV 243
by Johann
Sebastian
Bach: A
study in
performan
ce and
analysis
Authors:
Jurgensme
ier,Charles
Lee
Source:
2000, 81,
University
of
Southern
California,
United
States --
California,
D.M.A.
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21. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 94
Dissertation/Thesi
s (Electronic)
Reference
19 of 43
Magnificat
View Edit
Title:
The
shorter
sacred
choral
works of
Herbert
Norman
Howells
Authors:
Ferlazzo,E
dgar
Louis,Jr.
Source:
1997, 354,
Southwest
ern Baptist
Theologic
al
Seminary,
United
States --
Texas,
D.M.A.
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22. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 95
Dissertation/Thesi
s (Electronic)
Reference
20 of 43
Magnificat
View Edit
Title:
A study of
selected
choral
works of
Heitor
Villa-
Lobos
Authors:
Fleitas-
Gonzalez,
Patricia
Source:
1996, 112,
The
University
of Texas at
Austin,
United
States --
Texas,
D.M.A.
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23. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 96
Dissertation/Thesi
s (Electronic)
Reference
21 of 43
Magnificat
View Edit
Title:
Psalm,
three
motets,
and
Magnificat
by Boesset
Authors:
Banta,Car
olyn Jane
Source:
1995, 130,
University
of
Missouri -
Kansas
City,
United
States --
Missouri,
D.M.A.
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24. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 97
Dissertation/Thesi
s (Electronic)
Reference
22 of 43
Magnificat
View Edit
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25. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
A
conductor'
s analysis
of Gerald
Finzi's
"Intimatio
ns of
Immortalit
y"; "Lo,
the Full,
Final
Sacrifice";
and
"Magnific
at"
Authors:
Crutchfiel
d,Jonathan
Eric
Source:
1994, 194,
The
Southern
Baptist
Theologic
al
Seminary,
United
States --
Kentucky,
D.M.A.
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26. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 98
Dissertation/Thesi
s (Electronic)
Reference
23 of 43
Magnificat
View Edit
Title:
Orlando di
Lasso's
Magnificat
s ad
imitatione
m
Authors:
Crook,Dav
id W.
Source:
1991, 402,
Princeton
University,
United
States --
New
Jersey,
Ph.D.
Ref ID: 99
Dissertation/Thesi
s (Electronic)
Reference
24 of 43
Magnificat
View Edit
26 of 40
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27. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
The
Magnificat
s of
Francisco
Lopez
Capillas
(1615-167
3), Mexico
City
Cathedral
'maestro di
capilla'
Authors:
Johnson,R
obert
Manley
Source:
1990, 282,
Arizona
State
University,
United
States --
Arizona,
D.M.A.
Ref ID: 101
Dissertation/Thesi
s (Electronic)
Reference
25 of 43
Magnificat
View Edit
27 of 40
4/10/2010
28. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Title:
The
magnificat
s by
Tomas
Luis de
Victoria in
Toledo
Biblioteca
capitular
MS. B-30
a
compariso
n with the
printed
editions
(1576,
1581 and
1600)
Authors:
Wojcicka,
Lucy
Source:
1989,
University
of Calgary
(Canada),
Canada,
M.A.
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29. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 103
Dissertation/Thesi
s (Electronic)
Reference
27 of 43
Magnificat
View Edit
Title:
The Origins of
Cantus Firmus
used in the
English
Magnificat from
the Fourteenth to
the Seventeenth
Centuries
Authors:
Eaton,Frank Allen
Source:
1987, 424,
University of
Washington,
United States --
Washington,
D.M.A.
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30. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 104
Dissertation/Thesi
s (Electronic)
Reference
28 of 43
Magnificat
View Edit
Title:
The Repertoire of
Magnificats in
Leipzig at the
Time of J. S.
Bach: a Study of
the Manuscript
Sources.
(Volumes i and Ii)
Authors:
Cammarota,Rober
t Michael
Source:
1986, 584, New
York University,
United States --
New York, Ph.D.
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31. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 105
Dissertation/Thesi
s (Electronic)
Reference
29 of 43
Magnificat
View Edit
Title:
Settings of the
"Magnificat" for
the Female Solo
Voice: Recital
Document
Authors:
Jordan,Cheri
Brown
Source:
1985,
Southwestern
Baptist
Theological
Seminary, United
States -- Texas,
D.M.A.
31 of 40
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32. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 108
Dissertation/Thesi
s (Electronic)
Reference
30 of 43
Magnificat
View Edit
Title:
The Sacred Choral
Works of
Domenico
Scarlatti (Italy)
Authors:
Borton,Bruce Erol
Source:
1983, 377,
University of
Cincinnati, United
States -- Ohio,
D.M.A.
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33. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 112
Dissertation/Thesi
s (Electronic)
Reference
31 of 43
Magnificat
View Edit
Title:
The 16
Magnificats of
Cristobal De
Morales:
Elements of Style
and Performance
Practice
Authors:
Smith,James
Arthur
Source:
1976, 173, The
University of
Texas at Austin,
United States --
Texas, D.M.A.
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Elizabeth F. McLean
December 15, 2009
Ref ID: 113
Dissertation/Thesi
s (Electronic)
Reference
32 of 43
Magnificat
View Edit
Title:
A Study of the
Magnificat and an
Analysis and
Performance of
Selected Settings
Authors:
Grigsby,John
Roland
Source:
1972, 262,
Columbia
University, United
States -- New
York, Educat.D.
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35. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 114
Dissertation/Thesi
s (Electronic)
Reference
33 of 43
Magnificat
View Edit
Title:
The Eighteenth-
Century Italian
Magnificat: a
Survey of
Representative
Settings (Ca. 1700
- Ca. 1750) with
an Analysis and
Edition of Six
Works
Authors:
Bloesch,Richard
John
Source:
1971, 508,
University of
Illinois at Urbana-
Champaign,
United States --
Illinois, D.M.A.
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Elizabeth F. McLean
December 15, 2009
Ref ID: 115
Dissertation/Thesi
s (Electronic)
Reference
34 of 43
Magnificat
View Edit
Title:
Choral Settings of
the Magnificat by
Selected
Twentieth
Century American
Composers
Authors:
Johnson,Axie
Allen
Source:
1968, 172,
University of
Southern
California, United
States --
California,
D.M.A.
36 of 40
4/10/2010
37. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 116
Dissertation/Thesi
s (Electronic)
Reference
35 of 43
Magnificat
View Edit
Title:
Magnificats of
Orlandus Lassus
Authors:
Green,Francis
Marion
Source:
1968, 271,
University of
Southern
California, United
States --
California,
D.M.A.
37 of 40
4/10/2010
38. LSC831—Music Bibliography Final Project
Elizabeth F. McLean
December 15, 2009
Ref ID: 117
Dissertation/Thesi
s (Electronic)
Reference
36 of 43
Magnificat
View Edit
Title:
The British
Magnificat in the
Twentieth
Century
Authors:
Mccray,James
Elwin
Source:
1968, 306, The
University of
Iowa, United
States -- Iowa,
Ph.D.
38 of 40
4/10/2010