The purpose of the study is to empirically determine the relevance of PPP theory under the traditional arbitrage and the efficient markets (EPPP) frameworks during the recent floating period of the 1980s. Monthly data was collected for fifteen industrial nations from January 1980 to December 1986. The models tested included the short-run PPP, the long-run PPP, the EPPP, the EPPP with deviations from expectations, the forward rates as unbiased estimators of future spot rates, the EPPP and the forward rates, and the EPPP with forward rates and lagged values. A generalized regression method called Seemingly Unrelated Regression (SUR) was employed to test the models. The results support the efficient markets approach to PPP but fail to support the traditional PPP in both the short term and the long term. Moreover, the forward rates are poor and biased predictors of the future spot rates. The random walk hypothesis is generally supported.

The present study reconstructs the musical milieu in which Vincenzo Ruffo's 1542 motet collection was conceived through an examination of the archival materials surviving from each of the major musical establishments known to be active in Milan 1535-1550. The relationship of the 1542 collection to Milanese musical activity. Its publication problems and its current position in source studies are then explored in light of the archival information that is currently available.

Duke Humphrey of Gloucester is often given credit for the renaissance of English learning in the fifteenth century. It is true that the donations of books he made to Oxford, his patronage of English and Italian writers, and his patronage of administrators who had humanist training resulted in the transmittal of humanist values to England. But is it also true that these accomplishments were mainly the by-product of his self-aggrandizing style, rather than a conscious effort on the duke's part to promote learning. The duke, however, does deserve recognition for what he unwittingly may have done.

Girolamo Savonarola lived at the apex of the Renaissance, but most of his biographers regard him as an anachronism or a precursor of the Reformation. Savonarola, however, was influenced by the entire milieu of Renaissance Florence, including its humanism. Savonarola's major work, Triumph of the Cross, is a synthesis of humanism, neo-Thomism and mysticism. His political reforms were routed in both the millennialist dreams of Florence and the goals of civic humanism. Hoping to translate the abstract humanist life of virtue into the concrete, he ultimately failed, not because the Renaissance was rejecting the Middle Ages, but because the former was reacting against itself. Florence, for all its claims of being the center of the Renaissance, was not willing to make humanist reform a reality.

Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet …

This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

The Renaissance Florentine Captain of the People began as a court, which defended the common people or popolo from the magnates and tried crimes such as assault, murder and fraud. This study reveals how factionalism, economic stress and the rise of citizen magistrate courts eroded the jurisdiction and ended the Court of the Captain. The creation of the Captain in 1250 occurred during the external fight for dominance between the Holy Roman Emperor and the Pope and the struggle between the Guelfs and Ghibellines within the city of Florence. The rise of the Ciompi in 1379, worried the Florentine aristocracy who believed the Ciompi was a threat to their power and they created the Otto di Guardia, a citizen magistrate court. This court began as a way to manage gaps in jurisdiction not covered by the Captain and his fellow rectors. However, by 1433 the Otto eroded the power of the Captain and his fellow rectors. Historians have argued that the Roman law jurists in this period became the tool for the aristocracy but in fact, the citizen magistrate courts acted as a source of power for the aristocracy. In the 1430s, the Albizzi and Medici fought for power. The …

The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.

The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.

This thesis explores the life and reign of Julian the Apostate the man who ruled over the Roman Empire from A.D. 361-363. The study of Julian the Apostate’s reign has historically been eclipsed due to his clash with Christianity. After the murder of his family in 337 by his Christian cousin Constantius, Julian was sent into exile. These emotional experiences would impact his view of the Christian religion for the remainder of his life. Julian did have conflict with the Christians but his main goal in the end was the revival of ancient paganism and the restoration of the Empire back to her glory. The purpose of this study is to trace the education and experiences that Julian had undergone and the effects they it had on his reign. Julian was able to have both a Christian and pagan education that would have a lifelong influence on his reign. Julian’s career was a short but significant one. Julian restored the cities of the empire and made beneficial reforms to the legal, educational, political and religious institutions throughout the Empire. The pagan historians praised him for his public services to the empire while the Christians have focused on his apostasy and …

A study of the historical development of the origins of ballet in Italy and France during the fifteenth and sixteenth centuries. Specifically focuses on the ballet-comique de la reine and the ballet de cour.

The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian …

Although early Venetian operas by composers such as Claudio Monteverdi and Francesco Cavalli offer today's listeners profound moments of emotion, the complex codes of meaning connecting emotion (or affect) with music in this repertoire are different from those of later seventeenth-century operatic repertoire. The specific textual and musical markers that librettists and composers used to indicate individual emotions in these operas were historically and culturally contingent, and many scholars thus consider them to be inaccessible to listeners today. This dissertation demonstrates a new analytical framework that is designed to identify the specific combinations of elements that communicate each lifelike emotion in this repertoire. Re-establishing the codes that govern the relationship between text, musical sound, and affect in this repertoire illuminates the nuanced emotional language of operas by composers such as Claudio Monteverdi, Francesco Cavalli, Antonio Cesti, and Francesco Lucio. The new analytical framework that underlies this study derives from analysis of seventeenth-century Venetian explanations and depictions of emotional processes, which reveal a basis in their society's underlying Aristotelian philosophy. Chapters III and IV examine extant documents from opera librettists, composers, audience members, and their associates to reveal how they understood emotions to work in the mind and body. These authors, …

Thesis written by a student in the UNT Honors College discussing how ancient Roman and Jewish dietary traditions confirmed group identity, expressed piety through ritual, and were otherwise a matter of social significance.

This paper describes the creation and impact of Franz Liszt's "Dante" Sonata. Bill Blaine gives historical context and elaborates on the literary and philosophical influences evident in the piece before providing an examination of the music.