{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/85826"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/85826","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Thymiaterium Musicale (1625) by Andreas Rauch","abstract":"Andreas Rauch's first major collection of printed music, the Thymiaterium Musicale (1625) contains twenty-five motets scored for from four to eight voices with basso continuo. This collection of motets has never been transcribed and printed in an edition accessible to modern performance. The primary focus of this thesis was the transcription of the nine double-choir motets that conclude the collection. In addition to providing modern editions that allow this music to be performed and studied, the author examines Rauch's compositional process, discussing his treatment of text, melody, harmony and form. There is an in-depth discussion of the three most significant works--- Wie schon leucht uns der Morgenstern, a macaronic setting of the Magnificat and a setting of the penitential psalm, Miserere mei Deus. The first is a hymn-based motet, in which Rauch provides contrasting settings of all seven verses of Nicolai's well-known Epiphany hymn. The bitextuality of the Magnificat (alternately Latin and German texts) may represent Rauch's attempt to provide settings of the odd and even-numbered verses in as a kind of combinative Alternatimpraxis in which the German verses are a simple harmonization of the chorale melody, while the Latin settings are more freely conceived. The transcription of all nine motets is preceded by a set of Critical Notes that discuss the important performance practice information of each motet.","abstract_html":"Andreas Rauch's first major collection of printed music, the Thymiaterium Musicale (1625) contains twenty-five motets scored for from four to eight voices with basso continuo. This collection of motets has never been transcribed and printed in an edition accessible to modern performance. The primary focus of this thesis was the transcription of the nine double-choir motets that conclude the collection. In addition to providing modern editions that allow this music to be performed and studied, the author examines Rauch's compositional process, discussing his treatment of text, melody, harmony and form. There is an in-depth discussion of the three most significant works--- Wie schon leucht uns der Morgenstern, a macaronic setting of the Magnificat and a setting of the penitential psalm, Miserere mei Deus. The first is a hymn-based motet, in which Rauch provides contrasting settings of all seven verses of Nicolai's well-known Epiphany hymn. The bitextuality of the Magnificat (alternately Latin and German texts) may represent Rauch's attempt to provide settings of the odd and even-numbered verses in as a kind of combinative Alternatimpraxis in which the German verses are a simple harmonization of the chorale melody, while the Latin settings are more freely conceived. The transcription of all nine motets is preceded by a set of Critical Notes that discuss the important performance practice information of each motet.","abstract_has_math":false,"creators":["Solya, Andrea"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Alwes, Chester"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-09-25T22:54:21Z","date_published":"2015-09-25T22:54:21Z","updated_at":"2026-07-22T22:26:26Z","subjects":["Music"],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(MiAaPQ)AAI3411455"],"render_values":[{"text":"(MiAaPQ)AAI3411455","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/85826","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Alwes, Chester"]},{"key":"dc:creator","label":"Author","values":["Solya, Andrea"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2015-09-25T22:54:21Z","10000-01-01","2010"]},{"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":["D.M.A."]},{"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/2142/85826","(MiAaPQ)AAI3411455"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Andreas Rauch's first major collection of printed music, the Thymiaterium Musicale (1625) contains twenty-five motets scored for from four to eight voices with basso continuo. 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