{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85722"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85722","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"Aspects of Renaissance Influence in Selected Movements of Morten Lauridsen's \"\"Madrigali: Six 'Fire Songs' on Italian Renaissance Poems\"\" and \"\"Lux Aeterna\"\"\"","abstract":"In these cycles he incorporates obvious musical devices such as chromaticism, cross-relations, canon, paired duets, cantus firmus, chant-like melodic writing, Augenmusik, abruptio, and imitation that are historical techniques generally associated with the aforementioned composers. Although he does not attempt to duplicate the prior styles, the question remains, does the appearance of influence in these cycles result from Lauridsen's application of a general idea or from the application of an historical practice in a contemporary idiom? The purpose of this dissertation, then, is to analyze and compare Lauridsen's use of inferred historical techniques in selected movements from the Madrigali and Lux Aeterna cycles with representative models by the specified composers to determine how and in what measure Lauridsen incorporates the historical traditions in these cycles.","abstract_html":"In these cycles he incorporates obvious musical devices such as chromaticism, cross-relations, canon, paired duets, cantus firmus, chant-like melodic writing, Augenmusik, abruptio, and imitation that are historical techniques generally associated with the aforementioned composers. Although he does not attempt to duplicate the prior styles, the question remains, does the appearance of influence in these cycles result from Lauridsen's application of a general idea or from the application of an historical practice in a contemporary idiom? The purpose of this dissertation, then, is to analyze and compare Lauridsen's use of inferred historical techniques in selected movements from the Madrigali and Lux Aeterna cycles with representative models by the specified composers to determine how and in what measure Lauridsen incorporates the historical traditions in these cycles.","abstract_has_math":false,"creators":["Young, Welborn Edward"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Stoltzfus, Fred"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:53:09Z","date_published":"2015-09-25T22:53:09Z","updated_at":"2026-07-22T22:26:25Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3111664"],"render_values":[{"text":"(MiAaPQ)AAI3111664","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85722","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Stoltzfus, Fred"]},{"key":"dc:creator","label":"Author","values":["Young, Welborn Edward"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:53:09Z","10000-01-01","2003"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"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":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/85722","(MiAaPQ)AAI3111664"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["In these cycles he incorporates obvious musical devices such as chromaticism, cross-relations, canon, paired duets, cantus firmus, chant-like melodic writing, Augenmusik, abruptio, and imitation that are historical techniques generally associated with the aforementioned composers. Although he does not attempt to duplicate the prior styles, the question remains, does the appearance of influence in these cycles result from Lauridsen's application of a general idea or from the application of an historical practice in a contemporary idiom? The purpose of this dissertation, then, is to analyze and compare Lauridsen's use of inferred historical techniques in selected movements from the Madrigali and Lux Aeterna cycles with representative models by the specified composers to determine how and in what measure Lauridsen incorporates the historical traditions in these cycles.","Made available in DSpace on 2015-09-25T22:53:09Z (GMT). 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Although he does not attempt to duplicate the prior styles, the question remains, does the appearance of influence in these cycles result from Lauridsen's application of a general idea or from the application of an historical practice in a contemporary idiom? The purpose of this dissertation, then, is to analyze and compare Lauridsen's use of inferred historical techniques in selected movements from the Madrigali and Lux Aeterna cycles with representative models by the specified composers to determine how and in what measure Lauridsen incorporates the historical traditions in these cycles.","Made available in DSpace on 2015-09-25T22:53:09Z (GMT). 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