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Evolution of the German Church Cantata

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dc.contributor.author Bourne, Warren
dc.date.accessioned 2010-11-21T20:51:17Z
dc.date.accessioned 2022-10-10T23:49:54Z
dc.date.available 2010-11-21T20:51:17Z
dc.date.available 2022-10-10T23:49:54Z
dc.date.copyright 1966
dc.date.issued 1966
dc.identifier.uri https://ir.wgtn.ac.nz/handle/123456789/21692
dc.description.abstract All reference to musical scores, and to books, are keyed to the Bibliography at the conclusion of this study. The convention of indicating major and minor keys by large and small case letters has been adopted throughout: e.g. C = C Major, and c = C Minor. The number of vocal or instrumental voices in a composition is referred to as, a3, a4, etc. These are standard abbreviations for 'a quattro voce', etc., 'for four voices'. S, A, T, B, refer to vocal parts: soprano, alto, tenor and bass. These are used instead of the original descriptions in some of the works, e.g. 'discantus' (soprano), 'Quintus' (alto or tenor), and also to identify voice-parts that are marked only by a clef in the music score. Reference to the various Bach works are identified by the appropriate Bach Werke Verzeichnis (Schmieder) number, e.g., Wachet auf! (BWV 140). en_NZ
dc.format pdf en_NZ
dc.language en_NZ
dc.language.iso en_NZ
dc.publisher Te Herenga Waka—Victoria University of Wellington en_NZ
dc.title Evolution of the German Church Cantata en_NZ
dc.type Text en_NZ
vuwschema.type.vuw Awarded Research Masters Thesis en_NZ
thesis.degree.discipline Music en_NZ
thesis.degree.grantor Te Herenga Waka—Victoria University of Wellington en_NZ
thesis.degree.level Masters en_NZ

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