Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich / / David Crook.
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this re...
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| Superior document: | Title is part of eBook package: De Gruyter Princeton Legacy Lib. eBook Package 1980-1999 |
|---|---|
| VerfasserIn: | |
| Place / Publishing House: | Princeton, NJ : : Princeton University Press, , [2014] ©1994 |
| Year of Publication: | 2014 |
| Edition: | Course Book |
| Language: | English |
| Series: | Princeton Legacy Library ;
224 |
| Online Access: | |
| Physical Description: | 1 online resource (312 p.) :; 3 figs. 39 music examples |
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Table of Contents:
- Frontmatter
- Contents
- Acknowledgments
- Abbreviations
- Pitch, Clef, and Chord Designations
- Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat
- Part I. LITURGICAL AND CULTURAL CONTEXTS
- Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms
- Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria
- PART II. COMPOSITIONAL PRACTICE
- Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats
- Chapter 5. The Intertextuality of Lasso's Imitation Magnificats
- Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2
- Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition
- Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension
- Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions
- Works Cited
- Index