Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.657930
Title: A comparative style analysis of five early-to-mid sixteenth-century lamentation composers : Juan Escribano, Costanzo Festa, Elezear Genet (Carpentras), Cristóbal de Morales, and Yvo Nau
Author: Monek, Daniel Glenn
Awarding Body: University of Edinburgh
Current Institution: University of Edinburgh
Date of Award: 1999
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Abstract:
The dissertation begins with an analysis of paraphrase technique. It assesses each composer's use of the available lamentation tones, creation of imitative material, and their influence on the style of composition. The extent of the presence of cantus firmus material within a composer's lamentations has a direct effect on the lesson's character and style. Initial work on the cataloguing of dissonance usage was begun in Kund Jeppesen's The Style of Palestrina and the Dissonance, a work which has formed the basis of much of what we believe about the style of Palestrina and sixteenth-century practice in general. That work, however, concentrates on assessing the numbers of various dissonances employed by the composer. While this does reveal useful information, it may often leave room for misinterpretation. Each dissonance should first be considered in the overall context of the work in which it is employed, then compared to its use in the works of other composers in the same genre, and compared to its use in other genres. Information recorded from an analysis of dissonance can lead to conclusions not only about a composer's preferences, but about his intended structure for a work, his conception of the relationship between the voices of a composition, and perhaps, even, his impressions of the text which he was setting. Furthermore, when compared with the works by other composers within the same genre, one can begin to see traits which arise as a result of the demands of the genre and distinguish even further personal characteristics of each composer. Until recently, little work has been done to discover the structural arrangements which a sixteenth-century composer might have provided as the framework of his composition. Instead, polyphonic compositions of this period have been noted for their 'seamless' texture and consistent flow. This approach, however, has obscured the fact that, through the use of cadences and other factors, composers have provided internal structures for their compositions which may support or conflict with the structure of the text chosen. In this dissertation, factors affecting each cadence are collated and compared, producing insight into the variety of structural schema which these composers employed.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.657930  DOI: Not available
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