MONTEVERDI’S SPANISH CONTEMPORARY: SEBASTIÁN DE VIVANCO’S MAGNIFICAT SETTINGS AT THE END OF THE RENAISSANCE
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In this thesis, I focus on Magnificat settings by two, relatively contemporaneous, early seventeenth-century composers, both of whom were revered for their sacred music. In Part I, I consider the complete polyphonic setting of the Magnificat on psalm tone 6 by the highly regarded Spanish composer, Sebastián de Vivanco. In Part II, I explore portions of the Magnificat setting at the end of Vespro della Beata Virgine by the renowned Italian composer, Claudio Monteverdi. Each of these discussions include an overview of research, biographical summaries, and musical analyses with observations about specific stylistic trends, some of which were congruent with late-sixteenth-century, polyphonic Magnificat settings, and some which anticipated new, seventeenth-century innovations that would become hallmarks associated with the Baroque style.