Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria

Chapters in this book

1. Frontmatter i
2. Contents ix
3. Acknowledgments xi
4. Abbreviations xiii
5. Pitch, Clef, and Chord Designations xv
6. Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat 3
7. Part I. LITURGICAL AND CULTURAL CONTEXTS
8. Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms 33
9. Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria 65
10. PART II. COMPOSITIONAL PRACTICE
11. Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats 85
12. Chapter 5. The Intertextuality of Lasso's Imitation Magnificats 147
13. Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 211
14. Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition 213
15. Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension 219
16. Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions 221
17. Works Cited 279
18. Index 289