{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/113991"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/113991","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Fourteen motets from the Florilegium Portense of Erhard Bodenschatz: Critical editions and comparative analysis with the original sources","abstract":"Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2023-12-01","abstract_html":"Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2023-12-01","abstract_has_math":false,"creators":["Arnold, Jon"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Megill, Andrew","Mattax Moersch, Charlotte","Solya, Andrea","Eagen-Jones, Megan"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-04-29T21:46:13Z","date_published":"2022-04-29T21:46:13Z","updated_at":"2026-07-22T22:24:54Z","subjects":["Music"],"languages":["en","eng"],"rights":["Copyright 2021 Jon Arnold"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/113991","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Megill, Andrew","Mattax Moersch, Charlotte","Solya, Andrea","Eagen-Jones, Megan"]},{"key":"dc:creator","label":"Author","values":["Arnold, Jon"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022-04-29T21:46:13Z","2021-12","2021-12-03"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en","eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2021 Jon Arnold"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/113991"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2023-12-01","The student, Jon Arnold, accepted the attached license on 2021-12-01 at 11:24.","The student, Jon Arnold, submitted this Dissertation for approval on 2021-12-01 at 11:35.","This Dissertation was approved for publication on 2021-12-03 at 07:57.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17326 on 2022-04-06 at 17:17:29","Made available in DSpace on 2022-04-29T21:46:13Z (GMT). No. of bitstreams: 4 ARNOLD-DISSERTATION-2021.pdf: 29742455 bytes, checksum: 3185d60b3b22852599a550fac5df9954 (MD5) JonArnoldDissSources2.zip: 102461836 bytes, checksum: 72600b6bae39c9a0a4390fa1804a9898 (MD5) LICENSE.txt: 4207 bytes, checksum: 36f11f59ebac16c38799b2a526f411c1 (MD5) PROQUEST_LICENSE.txt: 4553 bytes, checksum: 6dcf9dd3135af4ede7e49b8641ccddd9 (MD5) Previous issue date: 2021-12-03","Embargo set by: Seth Robbins for item 123355 Lift date: 2024-04-29T21:46:25Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","Embargo set by: Seth Robbins for item 123355 Lift date: 2024-04-29T21:47:53Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","Open Restriction set for Item 123355 on 2022-05-02T18:16:48Z with date null by eliasbh2@illinois.edu.","Open Restriction set for Item 123355 on 2022-05-02T18:16:52Z with date null by eliasbh2@illinois.edu.","Open","The Florilegium Portense encompasses three anthology publications in Leipzig by Erhard Bodenschatz from 1603 to 1621. Born around 1576, Bodenschatz was a composer and pastor who was active in Saxony and Thuringia. While serving as the cantor at the prominent Schulpforta near Naumburg, Saxony from 1600 to 1603, he compiled an anthology of eighty-nine motets called the Florilegium Selectissimarum Cantionum, which was published by Abraham Lamberg in 1603. Nearly all of the works contained in the anthology were in Latin and most were for eight voices. An expanded and revised volume of 115 motets was published in 1618 and was the only publication to truly bear the name of Florilegium Portense. The anthology was designed for use at the school, primarily to provide music for daily functions such as singing at meals. Three years later, Bodenschatz published another volume of 150 motets, entitled Florilegii Musici Portensis. The last was intended more for liturgical use and consists mostly of music by Italian composers. Eighty-three of the pieces in this latter volume also occur in the Promptuarium Musicum, a contemporary four-volume collection edited by Abraham Schadaeus and Caspar Vincentius. The anthologies have become known primarily because of their use by Johann Sebastian Bach in Leipzig, but they were widely used in schools and churches throughout Germany. Research on the Florilegium has slowly progressed, but much of the music remains unavailable in score. The primary purpose of this project is to present editions of fourteen motets from the 1618 volume: three by Andreas Berger, one by Bodenschatz, five by Albinus Fabricius, two each by Andrea Gabrieli and Jacob Handl (known as Gallus), and one motet by Vincentius. These were chosen because they represent some of the more prolific composers found in the anthology, its editor, and possible contributor of the continuo part. The motets by Gabrieli and one by Handl were chosen because they are eight-voice arrangements of works originally scored for ten or twelve voices. During the transcription and editing process, it was discovered that the motets in the anthology differ, often in significant ways, from the composers’ original publications. The changes, although inconsistent, appear to be driven by a desire to make the music more accessible, most likely for the students at Schulpforta. There are also many errors in the Florilegium. The text of this study will explore each of the motets that were transcribed and examine the differences between the composers’ original publications and the versions in the Bodenschatz anthology."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Fourteen motets from the Florilegium Portense of Erhard Bodenschatz: Critical editions and comparative analysis with the original sources"]}]}],"canonical_facts":{"dc:contributor":["Megill, Andrew","Mattax Moersch, Charlotte","Solya, Andrea","Eagen-Jones, Megan"],"dc:creator":["Arnold, Jon"],"dc:date":["2022-04-29T21:46:13Z","2021-12","2021-12-03"],"dc:description":["Submission published under a 24 month embargo labeled 'U of I Access', the embargo will last until 2023-12-01","The student, Jon Arnold, accepted the attached license on 2021-12-01 at 11:24.","The student, Jon Arnold, submitted this Dissertation for approval on 2021-12-01 at 11:35.","This Dissertation was approved for publication on 2021-12-03 at 07:57.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17326 on 2022-04-06 at 17:17:29","Made available in DSpace on 2022-04-29T21:46:13Z (GMT). No. of bitstreams: 4 ARNOLD-DISSERTATION-2021.pdf: 29742455 bytes, checksum: 3185d60b3b22852599a550fac5df9954 (MD5) JonArnoldDissSources2.zip: 102461836 bytes, checksum: 72600b6bae39c9a0a4390fa1804a9898 (MD5) LICENSE.txt: 4207 bytes, checksum: 36f11f59ebac16c38799b2a526f411c1 (MD5) PROQUEST_LICENSE.txt: 4553 bytes, checksum: 6dcf9dd3135af4ede7e49b8641ccddd9 (MD5) Previous issue date: 2021-12-03","Embargo set by: Seth Robbins for item 123355 Lift date: 2024-04-29T21:46:25Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","Embargo set by: Seth Robbins for item 123355 Lift date: 2024-04-29T21:47:53Z Reason: Author requested U of Illinois access only (OA after 2yrs) in Vireo ETD system","Open Restriction set for Item 123355 on 2022-05-02T18:16:48Z with date null by eliasbh2@illinois.edu.","Open Restriction set for Item 123355 on 2022-05-02T18:16:52Z with date null by eliasbh2@illinois.edu.","Open","The Florilegium Portense encompasses three anthology publications in Leipzig by Erhard Bodenschatz from 1603 to 1621. Born around 1576, Bodenschatz was a composer and pastor who was active in Saxony and Thuringia. While serving as the cantor at the prominent Schulpforta near Naumburg, Saxony from 1600 to 1603, he compiled an anthology of eighty-nine motets called the Florilegium Selectissimarum Cantionum, which was published by Abraham Lamberg in 1603. Nearly all of the works contained in the anthology were in Latin and most were for eight voices. An expanded and revised volume of 115 motets was published in 1618 and was the only publication to truly bear the name of Florilegium Portense. The anthology was designed for use at the school, primarily to provide music for daily functions such as singing at meals. Three years later, Bodenschatz published another volume of 150 motets, entitled Florilegii Musici Portensis. The last was intended more for liturgical use and consists mostly of music by Italian composers. Eighty-three of the pieces in this latter volume also occur in the Promptuarium Musicum, a contemporary four-volume collection edited by Abraham Schadaeus and Caspar Vincentius. The anthologies have become known primarily because of their use by Johann Sebastian Bach in Leipzig, but they were widely used in schools and churches throughout Germany. Research on the Florilegium has slowly progressed, but much of the music remains unavailable in score. The primary purpose of this project is to present editions of fourteen motets from the 1618 volume: three by Andreas Berger, one by Bodenschatz, five by Albinus Fabricius, two each by Andrea Gabrieli and Jacob Handl (known as Gallus), and one motet by Vincentius. These were chosen because they represent some of the more prolific composers found in the anthology, its editor, and possible contributor of the continuo part. The motets by Gabrieli and one by Handl were chosen because they are eight-voice arrangements of works originally scored for ten or twelve voices. During the transcription and editing process, it was discovered that the motets in the anthology differ, often in significant ways, from the composers’ original publications. The changes, although inconsistent, appear to be driven by a desire to make the music more accessible, most likely for the students at Schulpforta. There are also many errors in the Florilegium. The text of this study will explore each of the motets that were transcribed and examine the differences between the composers’ original publications and the versions in the Bodenschatz anthology."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/2142/113991"],"dc:language":["en","eng"],"dc:rights":["Copyright 2021 Jon Arnold"],"dc:subject":["Music"],"dc:title":["Fourteen motets from the Florilegium Portense of Erhard Bodenschatz: Critical editions and comparative analysis with the original sources"],"dc:type":["text","Thesis"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["A.Mus.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:24:54Z"}