Dissertationen zum Thema „Music theory History 17th century“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Music theory History 17th century.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Dissertationen für die Forschung zum Thema "Music theory History 17th century" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Dissertationen für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
Rusak, Helen Kathryn. „Rhetoric and the motet passion“. Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.
2
Katz, Jonathan. „The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary“. Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.
Annotation:
The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these chapters with an English translation, commentary and introduction. Though the whole text was issued in a printed edition by the Orissa Sangeet Natak Akademi in 1966, the new edition offers substantial revisions and corrections to the published version. Eleven manuscripts have been examined; these are in Nagari, Bengali and Oriya scripts and are held in collections in Orissa, in other South Asian libraries, and in two British libraries. All of the manuscript evidence has been presented in a critical apparatus and in a section of supplementary textual notes. The commentary examines the technical contents of the work in detail and places the treatise within its Eastern Indian context. Special attention is drawn to certain subjects, for instance the account of compositional forms and metres, which represent a regional tradition, but all topics are placed also against the background of Sanskrit musicological traditions from other parts of India; some topics in the traditional sastra are thereby re-examined. In the introduction, the historical setting of the work is assessed, and the manuscript evidence is summarised. The proposed stemma codicum shows two groups of manuscripts, one from Orissa and one based in North India; manuscripts discovered in the future are expected to fit into one of these two.
3
Parker, Mark M. (Mark Mason). „Transposition and the Transposed Modes in Late-Baroque France“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
Annotation:
The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
4
Strahle, Graham. „Fantasy and music in sixteenth- and seventeenth-century England /“. Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.
5
Meredith, Victoria Rose. „The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.
Annotation:
The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.
6
Rushing-Raynes, Laura. „A history of the Venetian sacred solo motet (c. 1610--1720)“. Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.
Annotation:
In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
7
Botelho, Lynn Ann. „English housewives in theory and practice, 1500-1640“. PDXScholar, 1991. https://pdxscholar.library.pdx.edu/open_access_etds/4293.
Annotation:
Women in early modem England were expected to marry, and then to become housewives. Despite the fact that nearly fifty percent of the population was in this position, little is known of the expectations and realities of these English housewives. This thesis examines both the expectations and actual lives of middling sort and gentry women in England between 1500 and 1640.
8
Jackson, Simon John. „The literary and musical activities of the Herbert family“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.
9
Le, Cocq Jonathan. „French lute-song, 1529-1643“. Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.
Annotation:
A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
10
Vendrix, Philippe Pierre 1964. „Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
Annotation:
L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
11
Ballantyne, Abigail L. „Writing and publishing music theory in early seventeenth-century Italy : Adriano Banchieri and his contemporaries“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:5567c6ab-360c-47da-8b82-d7f1d4a4d4d7.
Annotation:
Why write music theory and publish it? In the thesis I investigate the reasons for a seeming over-abundance of practically oriented music treatises in early seventeenth-century Italy. Throughout I challenge our conventional assessment of the study of music theory: I suggest that we can define a music-theoretical text in terms of its material form in addition to its content. Adriano Banchieri (1568-1634) was the most prolific theorist in early seventeenth-century Italy. His music-theory books exemplify contemporary printing patterns, an overt practical focus, and a synthesis of contemporary theoretical innovations. In Chapter 1, after considering the meaning of 'music theory' and how it is typically classified, I discuss the process of and purposes for writing and publishing music theory. In Chapter 2 I explore Banchieri's practical and philosophical motives for writing music theory, and thus introduce the reader to his music-theoretical corpus. The focus of the thesis then broadens: in Chapter 3 I survey the typical authors, publishing houses, content, material form, function and readers of the various kinds of theoretical texts printed in Italy between 1600 and 1630. In Chapter 4 I examine the widespread practice of publishing second and revised editions of music-theory books in order to establish the extent to which a new edition corresponds to a seeming demand for a particular text. The case study of the paratext of Banchieri's Conclusiones de musica (Bologna, 1627) in Chapter 5 demonstrates the great extent to which the preliminary matter of an early Seicento music-theory book is embedded in its socio-cultural context and how a paratext projects ideas contained in the text proper. Lastly, in Chapter 6 I explore to whom and in which particular forums theoretical writings circulated. Here I focus principally on Banchieri's printed letters, which provide evidence of how an author circulated his music books.
12
Flores, Carlos A. (Carlos Arturo). „Music Theory in Mexico from 1776 To 1866: A Study of Four Treatises by Native Authors“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331988/.
Annotation:
This investigation traces the history and development of music theory in Mexico from the date of the first Mexican treatise available (1776) to the early second half of the nineteenth century (1866). This period of ninety years represents an era of special importance in the development of music theory in Mexico. It was during this time that the old modal system was finally abandoned in favor of the new tonal system and that Mexican authors began to pen music treatises which could be favorably compared with the imported European treatises which were the only authoritative source of instruction for serious musicians in Mexico.
13
Ledbetter, David. „Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire“. Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.
Annotation:
The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.
14
Lefcoe, Andrew. „Kuhn's paradigm in music theory“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.
Annotation:
Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
15
Chung, Kyung-Young. „Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640“. Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4668/.
Annotation:
Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in the first four decade of the seventeenth century.
16
Murphy, Liesel. „A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach“. Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1023.
Annotation:
This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
17
Giselbrecht, Elisabeth Anna. „Crossing boundaries : the printed dissemination of Italian sacred music in German-speaking areas (1580-1620)“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283907.
18
Yoshioka, Masataka. „Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.
Annotation:
During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
19
Dobbs, Benjamin M. „A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804836/.
Annotation:
Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and to provide a multifaceted context for situating Pleiades musicae in the culture of its time and place of origin, the present study examines both editions of the text from biographical, cultural, educational, philosophical, music-theoretical, and historical perspectives, and includes modern Latin editions and English translations of the two editions of the treatise.
20
Sowle, Jennifer. „The castrato sacrifice was it justified /“. Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/August2006/Open/sowle_jennifer_ruth/index.htm.
21
Daigle, Paulin. „Les fonctions harmoniques et formelles de la technique 5-6 à plusieurs niveaux de structure dans la musique tonale /“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35996.
Annotation:
This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music.The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures.
In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.
22
McKay, John Zachary. „Universal Music-Making: Athanasius Kircher and Musical Thought in the Seventeenth Century“. Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10653.
Annotation:
Athanasius Kircher’s Musurgia universalis (1650) was one of the largest and most widely circulated works of music theory in the seventeenth century. Although his reputation has waned over the centuries, Kircher was a leading intellectual figure of his day, authoring dozens of treatises on a multitude of topics and corresponding with scholars from around the world. Kircher’s central place within the world of learning resulted in a unique perspective on music theory and musical practice within the seventeenth century. The present study investigates a number of topics from Kircher’s music treatise and provides context from within the intellectual discourse of the time. The first chapter explores the seventeenth-century conception of encyclopedias, as well as the possible meanings associated with an encyclopedia musica, a novel term Kircher uses in his preface to describe Musurgia. Kircher’s attempt to describe all that was known about music, from highly speculative theories to the most utilitarian compositional tools, results in a complex blend of philosophical and practical elements. The middle chapters disentangle a few strands from this web of ideas, tracing the development of Pythagorean traditions and speculative music theory, as well as changing attitudes regarding empirical and occult methodologies in the early modern period. The final chapter concerns Kircher’s central goal for Musurgia, an algorithmic method based on the ars combinatoria and the emerging mathematical field of combinatorics that would allow anyone to compose musical settings, including the setting of texts in any poetic meter and in any language. Kircher’s arca musurgica—a device that contained tables to generate music—was in effect a distillation of the rules of harmony and counterpoint in the seventeenth century. Its underlying syntax of standard four-part progressions stands at the juncture between old and new ideologies of music theory and composition.Music
23
Gavito, Cory Michael. „Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s“. Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
24
Nelson, Bernadette. „The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century“. Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:b736ca8f-0bb7-47a4-9ac4-2102b6cc3acb.
Annotation:
Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the liturgy. Indeed, there is no monograph about organists and organ music in the Iberian peninsula as a whole. The overall aim of this thesis is to provide a musical background and liturgical context for short organ pieces called versos which were thoroughly integrated within a musical celebration of the Offices. For this end, a variety of musical and documentary material has been examined: practical sources of organ music; plainchant manuals; ceremonials and musical treatises. To an enormous extent this organ music was subject to long-standing liturgical customs and legislation, as well as to strongly defined traditions of musical composition. The prescriptions to the organist given in the ecclesiastical constitutions and how these may have been realized in the Canonical Hours and in the Mass constitutes the essence of part two of this thesis. This interpretation of musico-liturgical practices has entailed an examination of the relationship between plainchant and the organ verset and the technicalities of mode and tranposition which were involved when alternating the organ with choral plainchant. An analysis is also made of the musical development of versets based on the psalm-tones, organ hymns (the Pange lingua in particular) and the 'organ mass'. An anthology of transcriptions complementing this discussion is contained in a separate volume. As a counterbalance to the analytical discussion in part two, part one provides an historical and cultural background to the subject. An assessment is made of the contribution made by individual organists and organ 'schools' and some consideration is made of the extent to which both royal and ecclesiastical patronage was responsible for the livelihood of music and the arts.
25
Keuchguerian, Anait. „Haydn's early symphonic development sections and eighteenth-century theories of modulation“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20894.
Annotation:
The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)
26
Treacy, Susan. „English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.
Annotation:
Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
27
Chan, Tzu-Ying. „John Playford's The Division Violin: Improvisation and Variation Practice in English Violin Music of the Seventeenth Century“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011780/.
Annotation:
English publisher John Playford (1623-1686/1687) first published his "The Division Violin: Containing a Collection of Divisions Upon Several Grounds for the Treble-Violin" in 1684. The first edition of this violin collection contains 26 written-out examples of improvisation, serving as a living snapshot of the performance practice of the time. This research is based on the second edition, which Playford had expanded into 30 pieces for the violin, published in 1685. The purpose of this study is to investigate the art of improvisation in England during the late 17th century, focusing on Playford's "The Division Violin." The dissertation first surveys the development of English violin music in the 17th century. Then, the dissertation traces eight selected 16th-century Italian diminution manuals. This will help readers understand the progression of the Italian diminution and improvisation practice in the 16th century and how it relates to the English division of the 17th century. Finally, based on a thorough research of the 17th-century improvisatory style and rhetorical approach, the author of this study provides performance suggestions on "Mr. Farinell's Ground," No. 5 from "The Division Violin."
28
Yau, Shek Fung. „Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice“. HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.
29
Karnes, Kevin C. „Music, criticism, and the challenge of history : shaping modern musical thought in late nineteenth-century Vienna /“. Oxford : Oxford University Press, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9780195368666.
30
Breidenbach, Michael David. „Conciliarism and American religious liberty, 1632-1835“. Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648152.
31
Iler, Devin. „Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822783/.
Annotation:
The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translation of Philomathes’s work, as well as produces a critical commentary and comparison of the five editions while positioning the editions within the context of the musico-theoretical background of early-to-mid-16th century scholarship in Central Europe.
32
Cichy, Andrew Stefan. „'How shall we sing the song of the Lord in a strange land?' : English Catholic music after the Reformation to 1700 : a study of institutions in Continental Europe“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0bdfe9b2-b5c6-48fe-a565-ddb699b72312.
Annotation:
Research on English Catholic Music after the Reformation has focused almost entirely on a small number of Catholic composers and households in England. The music of the English Catholic colleges, convents, monasteries and seminaries that were established in Continental Europe, however, has been almost entirely overlooked. The chief aim of this thesis is to reconstruct the musical practices of these institutions from the Reformation until 1700, in order to arrive at a clearer understanding of the nature of music in the post-Reformation English Catholic community. To this end, four institutions have been selected to serve as case studies: 1. The Secular English College, Douai. 2. St Alban’s College, Valladolid. 3. The Benedictine Monastery of Our Lady of the Assumption, Brussels. 4. The Augustinian Monastery of Our Lady of Nazareth, Bruges. The music of these institutions is evaluated in two ways: firstly, as a means of constructing, reflecting and forming English Catholic identity, and secondly, in terms of the range of influences (both English and Continental) that shaped its stylistic development. The thesis concludes that as a result of the peculiarly domestic nature of religious practice among Catholics in England, and interactions with Continental Catholicism, the aesthetic and ideological bases for English Catholic music were markedly different from those of its Protestant counterpart. The marked influence of Italianate styles on the sacred music of English Catholic composers and institutions in exile demonstrates a simultaneous process of cultural alignment with the aesthetic and theological principles of the Counter-Reformation, and dissociation from those of English Protestantism. Finally, it is clear that music was an important formational tool in both the seminaries and convents, where it shaped both community and self-identity, and created affinities with the locales in which these institutions were situated – although it is also clear that these uses of music had the potential to conflict.
33
Hora, Edmundo Pacheco 1953. „As obras de Froeberger no contexto da afinação mesotonica“. [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284787.
Annotation:
Orientador: Helena JankTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T16:44:26Z (GMT). No. of bitstreams: 1 Hora_EdmundoPacheco_D.pdf: 7784572 bytes, checksum: 6dea0baba38779974864d2974087d576 (MD5) Previous issue date: 2004
Resumo: Com o objetivo de verificar a adequação do sistema de afinação utilizado no século XVII, com a produção musical de Johann Jacob Froberger (1616-1667), elaboramos um sistema de análise de todo o material publicado, visando identificar as eventuais discrepâncias entre eles. Assim, tanto a Denkmaeler der Tonkunst in Osterreich (Viena, Áustria 1903), a primeira edição com as obras do autor, quanto a mais recente e completa Neue Ausgabe sämtlicher Clavier- und Orgelwerke (Kassel, Alemanha 2003), foram comparadas. Os casos excepcionais, aquelas obras que não se adequaram ao parâmetro do sistema, foram extraídas e para elas, elaboramos uma tabela à parte (Tabela 2). Nela, encontramos uma obra que não se enquadra ao mesotônico padrão e para a qual elaboramos um estudo especial (Item 2.5.3), no final destacamos os problemas cruciais da enarmonia. Enarmonias nos instrumentos de afinação fixa não se referem ao temperamento mesotônico padrão com a divisão da coma em -1/4 S. Portanto, algum outro tipo de sistema de afinação foi provavelmente utilizado por Froberger, ainda que de maneira especulativa. Dessa forma, buscando compreender para qual tipo de afinação o compositor pensou as suas obras, centramos o nosso trabalho visualizando as possíveis contribuições proporcionadas aos sistemas de afinação e ao campo tonal da música erudita
Abstract: This work analyses the oeuvre of J. J. Froberger (1616-67) in order to show its adequacy, or eventual discrepancies, with the prevalent temperament in use in the 17th century. Therefore, a comparison was made between the Denkmaler der Tonkunst in Osterreich (Vienna, Austria 1903), the first available edition of Froberger's works, and the more recent and complete, Neue Ausgabe sämtlicher Clavier - und Orgelwerke (Kassel, Germany 2003). The exceptions, pieces which did not match the parameters of the tuning system, were put aside (a list of these pieces can be found on table 2). Among those, one work does not fit the standard meantone temperament, and for this a special analysis is provided (see item 2.5.3), pointing to crucial enharmonic problems at the end. Enharmonies, in instruments with fixed tuning, do not refer to standard meantone temperament, in which the division of the coma is ¿1/4 S. Consequently, it is probable that Froberger made use of other temperament, even if in a speculative way. Along our investigation to comprehend which temperament the composer has made use of when composing his works, we have also focused on his contributions to the field of tuning systems and tonal music
Doutorado
Doutor em Música
34
Brooks, Scott A. „To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.
Annotation:
By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
35
McAfee, Kay Roberts. „Rhetorical Analysis of the Sonatas for Organ in E Minor, BWV 528, and G Major, BWV 530, by Johann Sebastian Bach a Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, D. Buxtehude, C. Franck, and Others“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331342/.
Annotation:
This dissertation is an analysis of two of the six sonatas for organ using rhetorical-musical prescriptions from seventeenth and eighteenth-century German theorists. It undertakes to examine the way in which lines are built by application of figurae, to observe the design of each of the six movements, and to draw conclusions concerning implications for performance based upon the use of figurae in specific contexts. The period source on melodic design and the ordering of an entire movement based upon principles of rhetoric is Johann Mattheson's Per volkommene Capelmeister (1739). Guidelines for categorization of figures derive from the twentieth-century writers Timothy Albrecht, George Buelow, Lena Jacobson, and Peter Williams. Chapter I provides justification for the rhetorical approach through a brief description of the rise of the process as applied to composition during the Baroque period by relating Bach's own familiarity with the terminology and processes of rhetorical prescription, and by describing the implications for performance in observing the sonatas from the rhetorical viewpoint. Chapter II deals with the process of composition by rhetorical prescription in (1) the invention of the subject and its figural decoration and (2) the elaboration of the subject through the sixpart discourse of an entire movement. Specific figures of decoration are defined through examples of their use within the context of the sonatas. Chapter III constitutes the analysis of the six sonata movements. Chapter IV reinforces the justification of this type of analysis. The figures, as aids for inflection and punctuation, affect decisions concerning articulation of events and assist in effecting convincing performance.
36
Woodruff, Lawrence Theodore. „The Missae De Beata Virgine C. 1500-1520: A Study of Transformation From Monophonic to Polyphonic Modality“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331202/.
Annotation:
While musical sources and documents from throughout the Middle Ages reveal that mode was an enduring and consciously derived trait of monophonic chant, modality in later polyphony shares neither the historical span nor the theoretical clarity of its monophonic counterpart. Modern theorists are left with little more than circumstantial evidence of the early development of modality in polyphony. This study attempts to shed light on the problem by detailed analysis of a select body of paraphrase masses from the early sixteenth century. First, it correlates the correspondence between the paraphrased voice and the original chant, establishing points of observation that become the basis of melodic analysis. Then, these points are correlated with known rules of counterpoint. Exceptions are identified and examined for their potential to place emphasis on individual mode-defining pitches. A set of tools is derived for quantifying the relative strength of cadential actions. Levels of cadence are defined, ranging from full, structural cadences to surfacelevel accentuations of individual pitches by sixth-to-octave dyadic motions. These cadence levels are traced through the Missae de beata virqine repertoire from c. 1500-1520, a repertoire that includes masses of Josquin, Brumel, La Rue, Isaac, and Rener. While the Credos, based on two chant sources—one early (11th century) and one later (15th century)—showed little modal consistency, the Kyries show some suggestion of purposeful modal expression; and the Glorias show even greater implications. Results of the study have potential application in sixteenth-century music scholarship to such important issues as musica ficta, performance practice, text underlay, and form.
37
Smith, Jacob H. „Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878“. Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.
38
Read, Nicole Elizabeth. „The Adolescence of France: Teaching for Historical Empathy“. Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1241050971.
39
Volcansek, Frederick Wallace. „The Essercizii musici, a study of the late baroque sonata“. Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.
40
Farris, Daniel. „Intertextualization: An historical and contextual study of the battle villancico, El más augusto campeón“. Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12122/.
Annotation:
This document addresses the cultural and significance of the battle villancico, El más augusto campeón, and its historical, social, and musical contexts within the villancico genre of the Latin American Baroque. This study focuses on the villancico, El más augusto campeón, and explores the possible origins of the text and its relevance to the political and social structure of Cuzco's San Antonio Abad Seminary. Other areas of investigation are the musical analysis of the score and performance practice issues that surface when making choices as a conductor. Considering the seminal position villancicos held in the catechization of the Incans, in part due to their popular nature, the study of a representative example of this significant genre lends further insight into how important the villancico was to the ordinary and feast services of Peruvian (and, by association, Latin American) churches. While within the villancico's textual and musical structure one reads the obvious reflection of peninsular Spanish Catholic culture, its application to the criollo subculture carries an even more striking relevance.
41
Goecke, Norman Michael. „What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.
42
Wittmann, Luisa Tombini 1979. „Flautas e maracás = música nas aldeias jesuíticas da América Portuguesa (séculos XVI e XVII)“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280441.
Annotation:
Orientador: John Manuel MonteiroTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T12:48:13Z (GMT). No. of bitstreams: 1 Wittmann_LuisaTombini_D.pdf: 9280509 bytes, checksum: 982a99d42f6dd98f9d11fbf5d1a2848b (MD5) Previous issue date: 2011
Resumo: Esta pesquisa tem como objetivo o estudo das relações sonoras entre jesuítas e índios no Estado do Brasil e no Estado do Maranhão, durante os séculos XVI e XVII. A análise da documentação histórica, sobretudo jesuítica, atenta, na primeira parte, para as regras da Companhia de Jesus, no que se refere à música, e para suas adaptações e debates em missões na Ásia e na América Portuguesa. Aspectos das culturas nativas possibilitam a passagem das normas às práticas, em três espaços: costa e planalto paulista na metade do século XVI, Amazônia seiscentista e sertão nordestino nas últimas décadas do século XVII. Busca-se, assim, contar uma história de constantes negociações, na qual a música desempenha papéis plurais, onde atores colocam em jogo sonoridades que se revelam indispensáveis ao diálogo religioso entre ameríndios e missionários
Abstract: This thesis explores musical relations between Jesuit missionaries and Amerindian peoples in colonial Portuguese America (Brazil and the State of Maranhão) during the sixteenth and seventeenth centuries. Based mainly on Jesuit sources, this work focuses initially on the musical conventions adopted by the Society of Jesus and on their discussion and adaption within the missionary contexts of Portuguese Asia and America. The thesis then argues that different aspects of native cultures enabled the transition from conventions to practice, with emphasis on three spatial contexts: the sixteenth-century coast and São Paulo plateau, the seventeenth-century Amazon, and the northeastern hinterland. In sum, the thesis develops a story of constant negotiation, where music played multiple roles and where different historical agents exchanged sounds that proved to be indispensible in the religious dialogue between Amerindian peoples and European missionaries
Doutorado
Historia Social
Doutor em História
43
Javadova, Jamila. „Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659“. Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6092/.
Annotation:
This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.
44
Mathis, Thierry. „Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation“. Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
Annotation:
La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture de nos jours. Pour mémoire, cette mesure conditionne l’écartement entre le pouce et l’auriculaire, lequel écartement influence le jeu. Si l’écart est de moindre taille, les doigts sont plus rapprochés, et de ce fait, la main gagne en décontraction. Le jeu à la française se distingue aussi depuis ses origines par l’extrême souplesse de l’harmonisation, le peu de tension des cordes et le diapason bas (le La3 à 392 – 406 Hz). Par ailleurs, nous avons pu révéler l’existence de clavecins à trois claviers, la présence du seize pieds et du jeu nasal dans certains instruments (alsaciens notamment), et la paternité française de l’éclisse courbe en forme de « S ». Concernant les claviers, l’évolution de l’ambitus de l’instrument depuis le début du XVIIe jusqu’à la fin du XVIIIe siècle est bien connue des musicologues et des musiciens. Toutefois, aucune étude de cette évolution n’a été réalisée pour démontrer l’élargissement des claviers depuis le premier livre imprimé en 1670, les pièces de clavecin de Chambonnières, jusqu’à l’ambitus définitif des cinq octaves imposées dans les pièces de clavecin en concerts de Rameau en 1741. Notre étude s’est également étendue aux cordes, par la vérification de leur épaisseur et des matières dont elles étaient faites. Il s’avère que les facteurs de l’époque utilisaient des diamètres inférieurs à ceux des cordes actuelles, et qu’elles n’ont jamais été en cuivre dans les basses. Seul le laiton à forte teneur en cuivre était considéré comme satisfaisant pour la sonorité des cordes les plus graves. Quant aux cordes des trois cinquièmes supérieurs du clavier, elles étaient faites en fer mou qui n’avait qu’une faible tension. Il va sans dire que l’acier, employé de nos jours, était inconnu à cette époque. Enfin, il est admis aujourd’hui que le clavecin, une fois le tempérament posé, s’accorde en octaves pures, alors qu’il en était tout autrement au XVIIIe siècle, ainsi que nous l’avons établi à travers un texte de CorretteIs French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
45
Forment, Lise. „L’invention du post-classicisme de Barthes à Racine. L’idée de littérature dans les querelles entre Anciens et Modernes“. Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA163.
Annotation:
Cette thèse remet en question le soupçon pesant sur les catégories de « classique » et « classicisme ». Centrales dans les manuels, ces notions sont pourtant renvoyées par les spécialistes à de purs anachronismes, et jugées impertinentes pour caractériser le XVIIe siècle et sa littérature. Marqués par la rhétorique et la sociologie historique, les travaux actuels écartent l’opposition idéologique entre classicisme et modernité. Mais l’analyse de l’antagonisme chez Barthes, et l’étude des querelles impliquant les Classiques de 1898 à 1966, permettent de donner un contenu inattendu au classicisme, très éloigné de l’irénisme dont on l’a accusé.La notion, son antonyme et ses parasynonymes (antimodernisme et post-classicisme) circonscrivent d’abord, pour la littérature, différents « régimes d’historicité » dont débattent les polémistes. Le terme reste également associé à l’élaboration d’un « dispositif » utopique, où écrire, critiquer et enseigner iraient de pair : cette configuration, essentielle au XVIIe siècle, est sans cesse « remise sur le métier » dans les querelles postérieures entre Anciens et Modernes. De 1666 à 1694, semblent surgir en réalité la plupart des questions que les critiques continueront de poser à la littérature. C’est le cas, notamment, chez Barthes, Gide et Valéry, quand ils cherchent à en déterminer les fonctions et les prérogatives. Parce que le concept d’autonomie n’est pas pour eux détaché de toute exemplarité, il s’avère utile, bien qu’anachronique, pour lire les textes du XVIIe siècle. L’art de la « disponibilité », que Barthes reconnaissait chez Racine, serait alors l’autre nom de la littérarité, le nom d’une littérarité autre – non formaliste – que les Classiques auraient bel et bien inventée et qui autoriserait leur lecture « vivante, concernée »This dissertation interrogates the scepticism that falls on the categories of “classics” and “classicism”. Though they are considered key concepts in textbooks, these notions are viewed by many specialists as pure anachronisms, and declared irrelevant in defining the 17th century and its literature. Drawing influences from rhetoric and historical sociology, recent work dismisses the ideological divide between classicism and modernity, but an analysis of this opposition in Barthes’s corpus, supported by a study of the quarrels involving the Classics from 1898 to 1966, endows classicism with an unheralded substance, far from the irenicism for which it has been condemned. The notion of classicism, its antonym, and its parasynonyms (anti-modernism and post-classicism) first and foremost delineate, as far as literature is concerned, different regimes of historicity that are debated by the polemicists. The term ‘classicism’ is continuously associated with the establishment of a utopian apparatus within which writing, criticism and teaching go hand in hand. This blueprint was essential in the 17th century and is revisited again and again in the subsequent quarrels between Ancients and Moderns. In fact, most of the questions that critics continue to ask literature seem to arise between 1666 and 1694. Case in point, Barthes, Gide and Valéry all sought answers to these age-old questions in their attempts to determine both the functions and the prerogatives of literature. According to them, the concept of autonomy in literature cannot be separated from exemplarity. Thus, it proves useful, although anachronistic, in the reading of 17th-century texts. The art of “availability”, which Barthes recognized in the works of Racine, would then be the other name of literariness, a distinct – non formalist – literariness that the Classics have invented which allows their “vital, concerned” reading
46
Strahle, Graham. „Fantasy and music in sixteenth- and seventeenth-century England / Graham Strahle“. Thesis, 1987. http://hdl.handle.net/2440/21577.
47
„Musical Diversions at the Court of Louis XIV“. Thesis, 1998. http://hdl.handle.net/1911/20472.
Annotation:
During the carnival season of 1700, as some of the entertainments at the court of
Louis XIV, there were presented seven mascarades at Marly, a châiteau near Versailles.
The mascarade was a small-scale musical production that combined music and dance and
was influenced by the ballet de cour and later the tragidie-lyrique. They were composed
by André, Anne, and Pierre Philidor who were members of a family dynasty of wind
players connected to the French court for several generations. Sources including the
music, libretti, descriptive journal and diary entries, costume drawings, and related
research allow reconstruction of the mascarades. These sources, especially the survival
of the music in this collection, are important in that they display the type of
musical/theatrical entertainment occurring at the court of Louis XIV. The thesis includes
a modern edition of the music.
48
„重建詩歌傳統: 陸時雍詩論探析“. 1997. http://library.cuhk.edu.hk/record=b5889228.
Annotation:
嚴宇樂.論文(碩士) -- 香港中文大學硏究院中國語言及文學部, 1997.
參考文獻: leaves 1-8 (3rd group)
Yan Yuyue.
提要
Chapter 第一章、 --- 緒論 --- p.1
Chapter 1. --- 有關選本的問題 --- p.1
Chapter 2. --- 「重建傳統」槪念簡析 --- p.3
Chapter 3. --- 重建詩歌傳統與陸氏編選《詩鏡》的宗旨 --- p.9
Chapter 第二章、 --- 陸時雍詩論之時代背景 --- p.14
Chapter 1. --- 歷史背景 --- p.14
Chapter 1.1 --- 社會背景 --- p.14
Chapter 1.2 --- 思想背景 --- p.18
Chapter 2. --- 文學史背景 --- p.20
Chapter 2.1 --- 明代詩壇槪況 --- p.20
Chapter 2.2 --- 明詩創作之取徑 --- p.26
Chapter 2.3 --- 明人對歷代詩總集之選編與刊印 --- p.32
Chapter 第三章、 --- 陸時雍生平和著述 --- p.36
Chapter 1. --- 陸時雍生平及交遊 --- p.36
Chapter 2. --- 陸時雍的著述 --- p.40
Chapter 2.1 --- 陸時雍著述簡介 --- p.40
Chapter 2.2 --- 《詩鏡》槪說 --- p.43
Chapter 2.2.1 --- 解題 --- p.43
Chapter 2.2.2 --- 體例 --- p.45
Chapter 2.2.3 --- 底本 --- p.47
Chapter 3. --- 前人對陸時雍之硏究與本文硏究方法 --- p.48
Chapter 3.1 --- 前人硏究陸時雍槪況 --- p.48
Chapter 3.2 --- 本論文之硏究方法 --- p.51
Chapter 第四章、 --- 陸時雍之基本詩論 --- p.53
Chapter 1. --- 總綱：情生於文，文生於情 --- p.53
Chapter 2. --- 情 --- p.62
Chapter 2.1 --- 前代與明代之緣情說 --- p.62
Chapter 2.2 --- 陸氏的情感論 --- p.65
Chapter 2.2.1 --- 性情之辨 --- p.65
Chapter 2.2.2 --- 情意之辨 --- p.67
Chapter 2.2.3 --- 情之生成：感興而成、緣境而生 --- p.74
Chapter 2.2.4 --- 情、境關係 --- p.78
Chapter 2.2.5 --- 真情實境 --- p.83
Chapter 2.2.6 --- 真：率性，當情，稱物 --- p.92
Chapter 2.2.7 --- 人情、物情感通 --- p.94
Chapter 2.2.8 --- 詩可以觀 --- p.96
Chapter 3. --- 韻 --- p.97
Chapter 3.1 --- 「有餘意之謂韻」與言意之辨 --- p.98
Chapter 3.2 --- 形器與超形器 --- p.103
Chapter 3.3 --- 韻與其他範疇 --- p.109
Chapter 第五章、 --- 陸時雍之批評實踐（上） --- p.113
Chapter 1. --- 通代批評 --- p.114
Chapter 1.1 --- 一代詩有一代之特色 --- p.114
Chapter 1.2 --- 雅衰艷盛與踵事增華 --- p.115
Chapter 2. --- 斷代批評 --- p.118
Chapter 2.1 --- 先秦 --- p.121
Chapter 2.1.1 --- 詩騷之辨 --- p.122
Chapter 2.1.2 --- 《詩經》 --- p.126
Chapter 2.1.3 --- 楚辭 --- p.131
Chapter 2.1.4 --- 《詩》《騷》與漢魏文學 --- p.135
Chapter 2.2 --- 漢詩 --- p.136
Chapter 2.3 --- 魏詩 --- p.141
Chapter 2.4 --- 晉詩 --- p.146
Chapter 2.5 --- 南朝宋詩 --- p.151
Chapter 2.6 --- 齊詩 --- p.154
Chapter 2.7 --- 梁詩 --- p.156
Chapter 2.8 --- 陳詩 --- p.161
Chapter 2.9 --- 隋詩 --- p.162
Chapter 2.10 --- 六朝與唐之辨 --- p.163
Chapter 2.11 --- 初唐 --- p.173
Chapter 2.12 --- 盛唐 --- p.182
Chapter 2.13 --- 中唐 --- p.186
Chapter 2.14 --- 晚唐 --- p.198
Chapter 2.15 --- 宋 --- p.203
Chapter 第六章、 --- 陸時雍之批評實踐（下） --- p.209
Chapter 1. --- 作者批評 --- p.209
Chapter 1.1 --- 建安詩人：三曹、王粲、劉楨 --- p.209
Chapter 1.2 --- 正始詩人：嵇康、阮籍 --- p.217
Chapter 1.3 --- 西晉詩人：傅玄 --- p.220
Chapter 1.4 --- 晉宋之際詩人：陶謝 --- p.223
Chapter 1.5 --- 齊梁詩人：謝眺到梁武帝 --- p.241
Chapter 1.6 --- 南梁詩人：何遜 --- p.246
Chapter 1.7 --- 初唐詩人：四傑、陳子昂、沈宋 --- p.248
Chapter 1.8 --- 盛唐詩人：李白、杜甫、王維 --- p.263
Chapter 1.9 --- 中唐詩人：劉長卿、李益、韋應物、柳宗元 --- p.283
Chapter 1.10 --- 晚唐詩人：溫李 --- p.293
Chapter 第七章、 --- 結論一一陸氏詩論的意義與得失 --- p.301
參考書目
49
Gavito, Cory Michael. „The alfabeto song in print, 1610-ca. 1665 : Neopolitan roots, Roman codification, and "Il gusto popolare" /“. Thesis, 2006. http://www.lib.utexas.edu/etd/d/2006/gavitoc11533/gavitoc11533.pdf#page=3.
50
Vanherle, Francisca Paula. „Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)“. Thesis, 2002. http://hdl.handle.net/2152/29851.
Annotation:
Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.text