1-5 of 5 Search Results for

Orlando di Lasso

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Article
Journal of Music Theory (2021) 65 (2): 239–285.
Published: 01 October 2021
... leading tones, and (3) chromatically thwarted leading tones. For each type, the article discusses representative examples drawn from motets and madrigals by Orlando di Lasso, Giaches de Wert, Luca Marenzio, Luzzasco Luzzaschi, Alfonso Fontanelli, and Carlo Gesualdo, and considers how the chromatic...
FIGURES | View All (59)
Journal Article
Journal of Music Theory (2009) 53 (2): 255–304.
Published: 01 October 2009
.... 1976 . “Orlando Di Lassos `Prophetiae Sibyllarum' oder Über chromatische Komposition im 16. Jahrhundert.” Zeitschrift für Musiktheorie 9 : 29 –34. Lake, William Eastman. 1991 . “Orlando di Lasso's Prologue to `Prophetiae Sibyllarum': A Comparison of Analytical Approaches.” In Theory Only...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
.... Lehre vom Contrapunkt dem Canon und der Fuge, nebst Analysen von Duetten, Terzetten etc. von Orlando di Lasso, Marcello, Palestrina u. A. und Angabe mehrer Muster-Canons und Fugen. Berlin: Ferdinand Schneider. Dellaborra, Mariateresa. 2007, “‘Musico Pratico al cimbalo...
Journal Article
Journal of Music Theory (2017) 61 (2): 243–287.
Published: 01 October 2017
... sixteenth-cen- tury cadences from Orlando di Lasso’s Stabat mater; the attribution is labeled in the published score. As shown in Example 8a, Lasso’s harmonizations involve interval class 2 and 5 root motions, foreign to the PSM framework. Schnittke’s subsequent reharmonization, shown in Example 8b...
Journal Article
Journal of Music Theory (2020) 64 (2): 147–201.
Published: 01 October 2020
... and in all other voices. He does not address Lasso vita mia. between Dowland s songs are striking: their cadential plans, melodic construc- tion, vocal ambitus, characteristic degrees, and tonal compass distinguish them consistently, and many of these features depend on Dowland s treat- ment of 6...