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Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.
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xi, 387 p.A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006
The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.
Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
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Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.
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Bernardes, José Antônio Branco 1965. "Os recitativos em Le Devin du Village de Rousseau." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283946.
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Orientador: Eduardo OstergrenDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho procura tratar de questões práticas concernentes a uma realização historicamente informada dos recitativos do intermezzo Le Devin du Village de Jean-Jacques Rousseau (1712-1778). Não tem pretensão de responder todas as questões suscitadas pela partitura original, mas sim de proporcionar o máximo de subsídios ao artista competente - embora não especialista em música francesa de meados do séc. XVIII - que deseje conduzir (reger) esta obra. Os estudos sobre Rousseau têm privilegiado os aspectos teórico-musicais de sua obra. Neste estudo procurou-se estabelecer parâmetros de realização dos recitativos pertencentes ao Devin principalmente através da aplicação dos conceitos e práticas musicais defendidas por Rousseau e outros autores de seu tempo. Muito das sugestões propostas são fruto da aplicação dos tratados de época em apresentações de excertos de Le Devin du Village dirigidos pelo autor em 1997, 2003, 2004 e 2007. Uma performance ou realização historicamente informada deverá ser uma recriação idealizada a partir do conhecimento o mais profundo possível de seu Zeitgeist, o que a tornará necessariamente única e transiente, cada apresentação um novo acontecimento. A mera listagem e citação de fontes de época pouco pode provar por si mesma, o simples acesso a elas não seria garantia de veracidade absoluta. Vivência e experimentação artística são essenciais. Será através de erros e acertos na prática real, com posterior reflexão e ajustes, que consolidaremos uma real compreensão desse repertório. Afinal, o fazer artístico e o pesquisar acadêmico são ambos linguagens distintas e dificilmente comunicáveis e seria um grande engodo postular uma reprodução idêntica àquela ocorrida séculos atrás. De fato, não é possível abandonarmos nossa individualidade, que é realmente do séc. XXI. Compete-nos, através de um estudo profundo, adquirir a capacidade de atuar no estilo e pensamento de época como uma segunda natureza, unindo os diversos campos envolvidos em um todo coerente no atual contexto de realização artística. Enfim, o exercício do goût
Abstract: This work seeks to address practical issues concerning the performance of recitatives from Jean-Jacques Rousseau's (1712-1778) intermezzo Le Devin du Village from a historically informed perspective. There is no pretension in answering all issues raised raised upon examination of the original score, rather to offer musical, technical and stylistic subsidies to the competent musician - not necessarily expert on mid-18th century French music - when faced with the task of conducting this work. Studies about Rousseau have for the most part tended to favor the music-theoretical aspects of his works. In this study the author proposes to establish parameters for the performance of these recitatives mainly through the application of the concepts taken from historical music treatises and musical practices advocated by Rousseau himself and contemporary authors. Many of the proposed suggestions are the result of practical experiences acquired during the performances of excerpts from Le Devin du Village conducted by the author in 1997, 2003, 2004 and 2007. Several ideas discussed by in this dissertation will allow for an idealized re-creation of this intermezzo stemming from the deepest possible possible knowledge of its Zeitgeist, which will necessarily be unique and transient. The mere citation of historical sources nothing can prove by itself; direct access to these sources is no guarantee of absolute musical veracity. The artistic musicmaking and academic research are two distinct languages and of difficult intercommunicability. We are a "child of our time". It is our responsability, however, acquire a deeper historical knowledge for a keener insight into the style and thought of that epoch in order to develop the ability to act and perform as if it were one's own second nature. Hopefully it will unite the various fields of the art involved in making a coherent whole resulting in a new context of artistic realization. The exercise of bon goût at last
Mestrado
Musica
Mestre em Música
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Hillam, F. C. "The development of dental practice in the provinces from the late 18th century to 1855." Thesis, University of Liverpool, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378033.
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Dynner, Glenn. "Yikhus and the early Hasidic movement : principles and practice in 18th and 19th century Eastern Europe." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27940.
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Yikhus--the salient feature of the Jewish aristocracy--may be defined as a type of prestige deriving from the achievements of one's forbears and living family members in the scholarly, mystical, or, to a lesser degree, economic realms. Unlike land acquisition, by which the non-Jewish aristocracy preserved itself, yikhus was intimately linked with achievement in the above realms, requiring a continual infusion of new talent from each generation of a particular family.A question which has yet to be resolved is the extent to which the founders of Hasidism, a mystical revivalist movement that swept Eastern European Jewish communities from the second half of the eighteenth century until the Holocaust, challenged prevailing notions of yikhus. The question relates to the identities of Hasidism's leaders--the Zaddikim--themselves. If, as the older historiography claims, the Zaddikim emerged from outside the elite stratum, and therefore lacked yikhus, they might be expected to challenge a notion which would threaten their perceived right to lead. If, on the other hand, the Zaddikim were really the same scions of noble Jewish families who had always led the communities, they would probably uphold the value of yikhus. (Abstract shortened by UMI.)
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Gaughan, Evan M. "NATURALISTS, CONNOISSUERS AND CLASSICISTS: COLLECTING AND PATRONAGE AS FEMALE PRACTICE IN BRITAIN, 1715-1825." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2228.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 28, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Melissa Bingmann, Eric L. Lindseth. Includes vitae. Includes bibliographical references (leaves 79-91).
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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.
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Verwaerde, Clotilde. "La pratique de l'accompagnement en France (1750-1800) : de la basse continue improvisée à l'écriture pour clavier dans la sonate avec violon." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040086/document.
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Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième partie reconsidère la question de l’accompagnement dans les sonates pour clavier et violon. La confrontation des écrits théoriques et des partitions trouve une application directe dans la pratique de la basse continue et de l’accompagnement au clavier, et permet de proposer des modèles de réalisation conformes aux caractéristiques observées dans les œuvres de cette périodeBetween 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period
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Bruenger, David. "The cadenza: performance practice in alto trombone concerti of the eighteenth century." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332843/.
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This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.
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Shifrin, Ken. "Orchestral trombone practice in the nineteenth century with special reference to the alto trombone." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368133.
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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.
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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.
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Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.
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Knapik, Stefan. "Early twentieth-century discourses of violin playing." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:9144cfab-0e11-4ea9-80cb-842d07845ce8.
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The thesis is a critical reading of pedagogical and biographical texts by and on violinists, written in the early twentieth century. It contributes to historical and discursive studies by providing a limited engagement with a largely neglected group of historical sources relating to musical performance, and further advances the historical research on subjectivity, the body, pathology, and erotics, in relation to discourses of music. The thesis also contributes to studies of performance practice, and empirical and psychological studies of musical performance, in that it engages with discursive notions of theoretical and performance categories, such as tempo, melody, vibrato and portamento. By taking a hermeneutic approach to detailed discussions of performative practices, primarily found in pedagogical texts, the project aims to provide a more nuanced assessment of many of the topics that have played a central role in the ongoing research on early twentieth-century performance (which principally consists of recordings analysis). The project does this by demonstrating the extent to which these practices are culturally and historically mediated. Following an introduction, chapter 2 demonstrates that notions of consciousness inform writers’ notions of musical virtuosity, and shows that Nietzschean and Wagnerian notions of self underpin the idea of the violinist as a superior producer of art. Chapter 3 argues that these ideas combine with metaphysical notions of melody to make the concept of ‘tone’/Ton the cornerstone of string playing during this period, which in turn has important implications for how writers conceive of tempo, rhythm, vibrato, portamento and dynamics. Chapter 4 demonstrates that writers perceive their ideal of tone to be threatened by moral and physiological disease, manifested in individual/social bodies, which leads to a very different articulation of these same practices. Chapter 5 explores traces of notions of intersubjectivity, arising from metaphors of erotic desire, which challenge the hegemonic ideal of universal mind. The conclusion frames the discourse as a problematic attempt to posit an authoritarian model of string playing. It also includes a preliminary study of early twentieth-century discourses of cello playing, and engages with the research to date on national styles of violin playing in the same period.
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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.
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Herrell, LuAnn R. Venden. "No Slip-Shod Muse: A Performance Analysis of Some of Susanna Centlivre's Plays." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2524/.
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In 1982, Richard C. Frushell urged the necessity for a critical study of Susanna Centlivre's plays. Since then, only a handful of books and articles briefly discuss herand many attempt wrongly to force her into various critical models.
Drawing on performativity models, my reading of several Centlivre plays (Love's Contrivance, The Gamester, The Basset-Table and A Bold Stroke for a Wife) asks the question, "What was it like to see these plays in performance?" Occupying somewhat uneasy ground between literature and theatre studies, I borrow useful tools from both, to create what might be styled a New Historicist Dramaturgy.
I urge a re-examination of the period 1708-28. The standard reading of theatre of the period is that it was static. This "dry spell" of English theatre, most critics agree, was filled with stock characters and predictable plot lines. But it is during this so-called "dry spell" that Centlivre refines her stagecraft, and convinces cautious managers to bank on her work, providing evidence that playwrights of the period were subtly experimenting.
The previous trend in scholarship of this cautious and paranoid era of theatre history has been to shy away from examining the plays in any depth, and fall back on pigeonholing them. But why were the playwrights turning out the work that they did? What is truly representative of the period? Continued examination may stop us from calling the period a "dry spell." For that purpose, examining some of Centlivre's early work encourages us to avoid the tendency to study only a few playwrights of the period, and to avoid the trap of focusing on biography rather than text.
I propose a different kind of aesthetic, stemming from my interest in the text as precursor to performance. Some of these works may not seem fertile ground for theorists, but discarding them on that basis fails to take into account their original purpose: to entertain.
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Lu, Shu-Ling. "The influence of scholarly research on the orchestral performance practice of Raymond Leppard." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1233200.
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The purpose of this study is to determine the influence of scholarly research on the orchestral performance practice of conductor Raymond Leppard.This study presents, with supporting evidence, what an international conductor does today to incorporate the results of research into the interpretation of music. From this study, the writer has presented the influence scholarly research has had on orchestral performance practice, how one of today's conductor and orchestras deal with the issues raised and how they are carried into current performances, and to what degree do musicologists influence his performance. Orchestra conductors continue to learn from performance practice research and young conductors must be encouraged to gain knowledge from this field.Three scholarly musicians, Arnold Dolmetsch (1858-1940), Edmund H. Fellowes (1870-1951), and Thurston Dart (1921-1971), among many others, did much to revive authentic performances of earlier music. Their critical and historical writings are based on original sources and the concept of interpretation by studying composers' original manuscripts and editions in order to better present their musical style and heritage. This developed a strong movement towards the study of incorporating authentic music research into music performance.Maestro Leppard is known particularly for his interpretations of seventeenth and eighteenth century music. He prepared the revivals of Monteverdi and Cavalli's Italian operas. Maestro Leppard has had many experiences with European and American orchestras and has made many recordings. The contents of the interview focused on (1) orchestra size and seating, (2) the authenticity of music, (3) some basic performance practice elements such as tempo, rhythm, dynamics, articulation and phrasing, ornamentation, vibrato, and portamento, (4) string bowing, (5) editions, and (6) interpretation and personal observations.School of Music
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Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.
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The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.
Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.
Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.
Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.
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Irving, John (John Wells). "William Byrd's Motet "Tristitia et anxietas" through Elizabethan Eyes: Performance Practice based on an Examination of Sixteenth-Century Sources." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862868/.
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By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."
With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."
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Kane, Lynn Marie. "The influence of basso continuo practice on the composition and performance of late eighteenth- and early nineteenth-century Lied accompaniments /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192183671&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 362-387). Also available for download via the World Wide Web; free to University of Oregon users.
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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/.
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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.
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Patterson, David Josh. "A Tale of Two Carlos: An Examination of the Ongoing Battle Between the Marginalized and the Privileged as Exemplified by Carlo Goldoni and Carlo Gozzi During the 18th Century." DigitalCommons@USU, 2011. https://digitalcommons.usu.edu/etd/1006.
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This thesis explores the lives and works of Carlo Gozzi and Carlo Goldoni. Specific emphasis is placed on their feud, positions in society, the motivations behind their theatrical styles, and the ways they used theatre to either attempt to maintain the status quo (Gozzi) or strive for social change (Goldoni). Contrary to previous studies, this study suggests that Goldoni tried to influence the world around him, rather than merely reflect it. This study examines the above through the lens of several twentieth century theories including semiotics, structuralism, and the avante-garde. The contents of this work are essential to anyone seeking biographical information, doing dramaturgical research or producing one of their plays, and those investigating the ways theatre has been used to incite change and create an atmosphere of social equity. This work demonstrates that theatre can, has been, and should be actively used to influence that change.
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Vader, Lyndsey R. "Spaces of Encounter, Repertoires of Engagement: The Politics of Participation in 21st Century Contemporary Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593524572991808.
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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.
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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.
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Kim, Mo-Ah. "Towards a Revival of Lost Art: Clara Wieck Schumann's Preluding and Selected 20th-Century Pianist-Composers' Approaches to Preluding." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563873346983736.
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Jürgensen, Frauke. "Accidentals in the mid-fifteenth century : a computer-aided study of the Buxheim organ book and its concordances." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85921.
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The Buxheim Organ Book, the largest fifteenth-century manuscript of keyboard tablature, has never before been examined as a whole in light of musica ficta issues, although it contains far more accidentals than any contemporaneous source in mensural notation. Although tablature has been used by various scholars to examine accidentals in sixteenth-century music, studies of fifteenth-century accidentals have focussed on theoretical evidence and small groups of pieces from mensural sources. The author uses the Buxheim Organ Book to extend the investigations of accidentals in tablature back into the fifteenth century, combining the large data set provided by this manuscript with a statistical approach modelled on that of Thomas Brothers's smaller-scale study of the chansons of Binchois. Specialised computer programs are introduced, which detect musical structures relevant to the analysis of Renaissance music such as different types of cadential voice leading. These programs function as extensions to David Huron's Humdrum Toolkit. With these tools, signing practises in the intabulations are statistically compared with all of the concordances of the models. Conclusions are suggested pertaining to issues of signature accidental transmission, partial signatures, mode, and musica ficta, which can be used as a contextual backdrop for the analysis of individual pieces. The evidence provided by the accidentals in Buxheim and its concordances draws a clear picture of how a group of fifteenth-century musicians added accidentals to polyphonic music. For the first time, this study provides us with principles and guidelines for musica ficta -decisions based on actual practice.
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Cox, Jensen Oskar. "Napoleon and British popular song, 1797-1822." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:d47008a8-067c-4938-a59d-3d2027a74aa2.
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Existing studies of popular culture and popular politics in the long eighteenth century over-favour either the ‘culture’ or the ‘politics’. This thesis contributes to debates on the making of both national and class identity in Britain via intensive analysis of popular song culture, in the context of the Napoleonic Wars. Portrayals of Napoleon himself are used to shape the thesis’ source material and the forms of discussion. It argues for the necessity of sympathetic, informed contextualisation of political issues within contemporary cultural processes: that an understanding of the composition/production and performance/ consumption of song is a prerequisite of determining songs’ relevance and reception. In so doing, it uncovers a nuanced array of attitudes towards both Napoleon and British patriotism, of unsuspected breadth, assertiveness, and idiosyncrasy. The thesis is divided into two stages of argument. Part I consists of a close and contextualised reading of songs as literary and musical objects. Chapter One, after close historiographical engagement that moves to a focus on Colley’s Britons and revisionist arguments about British society, discusses those songs originating after Waterloo. Chapter Two considers songs from 1797-1805. Chapter Three considers songs from 1806-15. Part II builds upon the themes and conclusions of Part I by situating these songs within a lived context. Chapter Four looks at the role of songwriters and printers; Chapter Five at singers; Chapter Six at audiences and reception. Chapter Seven elaborates the overall argument in a synoptic case study of Newcastle. The conclusion is followed by an appendix, listing the songs most pertinent to the thesis, giving additional bibliographical information. A hard copy (USB) of recordings of a representative selection of these songs is also included. These appendices reinforce the thesis’ methodology: to consider songs, not as passive evidence of expression, but as active, dynamic objects.
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Hamilton, Elizabeth P. K. "A Study of Early Sixteenth-Century English Music Fragments from the DIAMM Database." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20241.
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While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued.
This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.
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Sandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.
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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios's works have proliferated, many of these transcriptions of the composer's own recordings. However, the publication of differing transcriptions has led to a lack of authoritative editions, creating a confusing situation for performers. Therefore, this research intends to highlight the importance of making critical editions of Barrios's works based on folk music, using the Cueca as an example. This research offers an analysis and comparison of Chilean cuecas from the first half of the twentieth-century--the timeframe in which Barrios was in contact with this genre--to Barrios's Cueca. Second, it proposes a critical/performance edition of Barrios's work taking into account both the performance practice of traditional Chilean cuecas, and the two primary sources of this work: a handwritten manuscript and the composer's own recording. This research does not analyze nor compares the Argentinian and Bolivian versions of the cueca.
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Shaw, Martyn. "The 'Nicholsonian effect' : aspects of 'tone' in early nineteenth-century flute performance practice in England, with particular reference to the work of Charles Nicholson (1795-1837)." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4923/.
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Charles Nicholson (1795-1837) was one of the most important figures in the evolution of the flute. His influence on the design of the Boehm flute is widely acknowledged. However, the contribution he made as a catalyst for developments in flute performance practice in early nineteenth-century England, is not. Such was Nicholson’s reputation for variety of tone in his playing, that the term ‘Nicholsonian effect’ was coined. This research examines the tone of the flute, and uniquely places it within the context of the interrelationship between performance, pedagogy and flute-design in Nicholson’s work. Tone manipulation emerges as a crucial feature of the style with particular importance attached to three things: tone-colour, ‘vibration’ and the glide. The resulting tone variation constitutes the essence of the style. Research in this field is lacking, and has established only broader performing contexts. This research represents the first detailed study of the form and function of tone-colour, ‘vibration’ and the glide within early nineteenth-century English flute performance practice. An original ‘Nicholson’s “Improved” flute’ has been used to inform the research throughout this study. It will also be used to apply the research in the recital which forms the other half of my PhD submission.
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Klein, Kelly Perl. "Dancing into the Chthulucene: Sensuous Ecological Activism in the 21st Century." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1545597606977576.
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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.
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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.
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South, James 1957. "References to Trumpet Music in the Battle Chansons of Clement Janequin." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc330664/.
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This paper is an examination of the battle chansons of Clement Janequin for references to Renaissance trumpet music. The following issues are addressed: dating the early use of the clarino register; the history and evolution of the courtly trumpet ensemble; and the transition from the shorter trumpet of the Middle Ages to the longer instrument of the middle Renaissance and Baroque eras. Because the earliest Janequin battle chanson predates all known written trumpet sources by over fifty years, musical evidence gleaned from these battle chansons can help to establish the existence and character of trumpet performance practices in the first third of the sixteenth century.
The first chapter summarizes all of the known primary sources of information on Renaissance trumpet performance, and identifies important issues worthy of further investigation. The second chapter examines trumpet music and trumpet style in the Renaissance, including trumpet ensemble performance, military trumpet calls, and the imitation of trumpet style in purely vocal music, and contains eight musical examples. The third chapter discusses the battle chansons of Janequin and their influence on other sixteenth-century works. Chapter £our analyzes the battle works of Janequin for allusions to trumpet music and includes eleven musical examples. The fifth and concluding chapter places the musical allusions into the context of trumpet history.
The musical references pointed out in these chansons provide the first musical evidence that trumpeters in the early sixteenth century were performing in the clarino register. Clear references to unequal articulation, military calls, characteristic: trumpet rhythms, and to the music of the courtly trumpet ensemble are demonstrated. The chansons also provide evidence of the simultaneous use of trumpets in at least two different keys, probably for two different styles of playing.
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Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.
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At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.
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Chambo, Wayla Joy Ewart. "The Devil and the Details: Negotiating Virtuosity, Agency, and Authenticity in Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem for Solo Flute." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799513/.
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Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem presents mental, physical, and musical challenges that go beyond the usual expectations of an instrumentalist, extending and redefining the traditional idea of virtuosity. Using firsthand performance experience, score and recording study, and flutist interviews, this document explores the effects of some of these heightened demands and argues that the particular performance situation presented by Kathinkas Gesang brings up critical questions about the performer’s role, the nature of performance and of the musical work, and the existence of an authoritatively “authentic” interpretation. Employing an expanded definition of virtuosity that includes interpretation and encompasses both choices and actions, the document discusses the extensions of virtuosity into two main areas: first, memory; and second, staging and movement, covering both practical suggestions and larger implications. Finally, it examines how the performer’s negotiation of these challenges relates to questions about authenticity and agency. Performance is defined here as a creative and collaborative act, not attempting to duplicate previous performances or recordings, but rather to give the best realization of the piece possible in the given circumstances, according to the individual’s interpretation of the score’s directions. There is no single “authentic” interpretation, but rather a rich multiplicity of possibilities, and the performer’s creative agency and personal authenticity are necessary for the full realization of the work.
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Kaemmerling, Astrid. "Walking the Gentrifying Streetscape: Artistic Practice in San Francisco's Mission District (2006-2016)." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1466446720.
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Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.
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Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.
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Link, Kacey Quin. "Culturally Identifying the Performance Practices of Astor Piazzolla's Second Quinteto." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/194.
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Astor Piazzolla (1921-1992) captivated Argentine and international audiences with his innovative works in a nuevo tango style and his bandoneón performances. Piazzolla?s success culminated during the 1980s with his second Quinteto, which performed remarkable concerts in venues such as the Teatro Colón in Buenos Aires and the Central Park Bandshell in New York, in addition to the performances at the Montreal and Montreux Jazz Festivals. His music also grew popular with a plethora of internationally acclaimed classical and jazz artists as well as with Argentine musicians themselves. However, Piazzolla?s music poses a challenge today, because nuevo tango represents a synthesis of the composer?s musical and cultural backgrounds, conjoining the tango legacy of Buenos Aires, the jazz idioms that he absorbed in New York, and the international traditions of classical music. Many musicians, specifically those from the United States, perform and study nuevo tango without having sufficient prerequisite knowledge of these practices, causing the genre to lose its cultural substance. By considering the fusion of tango, jazz, and classical genres and incorporating a cross-cultural analysis, this thesis aims to illuminate the basis of Piazzolla?s performance practices. It seeks to identify the yeites (tango instrumental techniques) that define nuevo tango and to suggest ways that the modern performer can incorporate these stylistic features to produce culturally informed interpretations of Piazzolla?s works. This study focuses on the practices of Piazzolla?s second Quinteto, at the pinnacle of his career, and emphasizes a gestural analysis of the yeites to produce a well-grounded concept of nuevo tango sound. This study concludes that, even though Piazzolla?s compositions represented a fusion of genres, the performance practices (and specifically the gestures) of the second Quinteto are primarily associated with the tango traditions of previous eras. Such gestures embody Piazzolla?s music and thus allow contemporary performers to recreate the evocative and persuasive characteristics of nuevo tango practices today.
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Conceição, Adriana Angelita da. "Sentir, escrever e governar. A prática epistolar e as cartas de D. Luís de Almeida, 2º Marquês do Lavradio (1768 - 1779)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-16042012-164420/.
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Esta tese versa sobre a prática de escrita de cartas na época moderna, sobretudo no século XVIII, incluindo-se a carta como objeto de estudo, ao se considerar seu sentido, produção, marca de sociabilidade, aspecto materiais, espaço de trocas de sensibilidades e dispositivo da prática de governar. Para isso, analisamos alguns manuais modernos de escrita de carta e de secretário, especialmente, o de Francisco José Freire, O secretario portuguez (1745). Ao se estudar a prática epistolar, criou-se o conceito de sensação de fala e sensação de escuta, para pensar a carta enquanto portadora da voz do remetente, despertando no destinatário a audição, ativada pela conexão entre os sentidos questão que também considerou a circularidade da carta entre os espaços de sociabilidade e manifestação do sensível. Assim, depois de pensar a carta em categorias teóricas, estudamos a correspondência de D. Luís de Almeida, o 2º marquês do Lavradio. Cartas produzidas por este português no período no qual deixou Lisboa para servir ao rei como governador da Bahia e depois como vice-rei do Brasil, permanecendo na América de 1768 a 1779. As instituições que abrigam a correspondência que formou o principal corpus da tese são: em Portugal, Biblioteca Nacional, Arquivo Histórico Ultramarino e Academia de Ciência de Lisboa; no Brasil, Arquivo Nacional e Biblioteca Nacional. O corpus foi estudado pormenorizadamente reunindo informações quantitativas e qualitativas, considerando a materialidade da carta e sua trajetória de composição e preservação. Por fim, o terceiro momento do estudo analisou o conteúdo das cartas, para pensar o governo colonial regido através delas, refletindo sobre os diferentes papéis sociais ocupados por D. Luís de Almeida, a atuação do vice-rei e suas problemáticas de governo; e as estratégias utilizadas para impedir a má reputação social diante da perda do território. Contudo, esta tese une sentir, escrever e governar, para pensar a prática epistolar e as cartas de D. Luís de AlmeidaThis thesis studies the practice of writing letters in modern times, mainly in the 18th century, including letters as object of study, considering its sense, production, mark of sociability, material aspects, space of sensibility trades and practice of governments device. Thereunto, we analyze some modern manuals of letters and secretary writing, specially Francisco José Freires, O secretario portuguez (1745). When studying the epistolary practice, the concept of the sensation of speech and the sensation of listening was created, to think letters as voice carrier of the sender, awaking in the addressee the audition, activated by the connection between the senses issue that also considered the circulation of letter between the spaces of sociability and manifestation of the sensible. So, after thinking letter in theoretical categories, we studied D. Luís de Almeidas correspondence, the 2nd marquis of Lavradio. Letters produced by this portuguese in the period in which he left Lisboa to serve the king as governor of Bahia and later as viceroy of Brazil, staying in America from 1768 until 1779. The institutions that house the correspondence that formed the main corpus of this thesis are: in Portugal, Biblioteca Nacional (National Library), Arquivo Histórico Ultramarino (Overseas Historical Archive) and Academia de Ciência de Lisboa (Science Academy of Lisbon); in Brazil, Arquivo Nacional (National Archive) and Biblioteca Nacional (National Library). The corpus was studied particularly gathering quantitative and qualitative information, considering the materiality of letter and its trajectory of composition and preservation. Finally, the third moment of the study examined the letters content, to think the colonial government ruled through them, reflecting about the different social roles occupied by D. Luís de Almeida, the performance of the viceroy and its governments problematics; and the strategies used to prevent the bad social reputation facing the loss of the territory. However, this thesis unites feeling, writing and government, to think the epistolary practice and the D. Luís de Almeidas letters.
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Hellner, Jean Marie. "Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/hellner%5Fjean%5Fmarie/index.htm.
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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.
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Noorduin, Marten Albert. "Beethoven's tempo indications." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/beethovens-tempo-indications(61262f19-aa03-47db-823e-ad5d37e38659).html.
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Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven’s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven’s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer’s sense of tempo. By using as many sources on Beethoven’s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.
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Curran, Terence William. "Recording classical music in Britain : the long 1950s." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
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During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
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Cayuela, Elodie. "Théorie et pratique du portrait en France et en Grande-Bretagne au XVIIIe siècle : regards croisés." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30010.
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Au XVIIIe siècle, les enjeux du portrait, de sa théorie et de sa pratique évoluent, comme le montrent les exemples parallèles de la France et de la Grande-Bretagne. Plus que tout autre sujet, ce genre pictural suscite alors des remarques variées de la part des artistes, des amateurs ou du public, qui témoignent des exigences et des attentes des hommes des Lumières. Ce discours se rapporte tout autant aux aspects artistiques qu’aux aspects sociaux du portrait. Selon une approche croisée, notre thèse s’attache donc à comprendre la manière dont le regard sur le portrait et les pratiques de ses spécialistes se créent et évoluent à l’époque moderne de part et d’autre de la Manche en s’enrichissant mutuellement ou en se confrontant. L’examen simultané de la littérature et de la pratique artistique en France et en Grande-Bretagne permet in fine d’éclairer mutuellement ces problématiques tout en questionnant le problème des échanges et transferts artistiques entre les deux paysDuring the 18th century, portraiture theory and practice evolved, as the parallel examples of France and Great Britain show. More than any other topic, this pictorial genre arouses varied remarks from artists, amateurs and the public, which show the demands and expectations of the men of the Enlightenment. This discourse refers to both the artistic and social aspects of the portrait. Thus, through a crossed approach, our thesis aims to understand how portrait’s perceptions and practices appeared and evolved in modern times on both sides of the Channel by enriching or confronting each other. The simultaneous examination of literature and artistic practice in France and Great Britain ultimately sheds light on these issues while questioning the problem of artistic exchanges and artistic transfers between the two countries
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Louw, Elsabé. "Ornamentasie in Handel se Giulio Cesare in Egitto (HWV 17) : 'n histories-ingeligte benadering / E. Louw." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4280.
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In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the
operas of George Frideric Handel. The study aims to use information about this
approach to performance practice in order to show forth its significant role in the
performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered
through the use of an aria, embellished by Handel, Affanni del pensier, from his opera
Ottone. With this information, the author attempts to freely embellish an aria, Da
tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the
performance style is practised with the historical information in mind, without inhibiting the creativity of the author.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
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Garbuio, Rafael Luís 1982. "Os madrigais de Carlo Gesualdo = um estudo interpretativo à luz de seu ideal poético." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285319.
Full textAbstract:
Orientador: Carlos Fernando FioriniTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Os seis livros de madrigais italianos compostos por Carlo Gesualdo apresentam uma estreita relação entre a música e o texto. A manipulação efetuada pelo compositor nos poemas que seriam base para suas peças evidencia sua busca por um determinado formato de texto. Através da observação destas alterações, foi possível caracterizar seu ideal poético e relacioná-lo diretamente com a sua concepção musical, objetivando um entendimento mais abrangente da expressividade deste conjunto de obras. Para che-gar a este resultado, foram realizados estudos da contextualização histórica, concen-trados na cidade de Ferrara e na sua importância dentro da obra deste compositor; do Maneirismo artístico e sua relação com o madrigal italiano tardio, e dos vários aspectos da sua escrita musical. Como forma de confrontar estas informações, realizou-se uma análise da relação texto/música sobre dois termos poéticos ¿ amor e morte ¿ através da qual foi possível concluir como se deu o amadurecimento da escrita do compositor e a relevância de seu ideal poético como ferramenta interpretativa
Abstract: The six Italian madrigals books of Carlo Gesualdo present a close connection between music and text. The manipulation made by the composer in the poems that would serve as basis for his music evidences his search for a certain text format. Through the anal-ysis of these changes it was possible to characterize his poetic ideal and relate it direct-ly to his musical conception, aiming a more comprehensive understanding of the ex-pression of this group of works. To reach this result, the historical context was studied, especially the one of the city of Ferrara and its importance in the work of this composer. Also, the various aspects of his musical writing, the Mannerism and its relation to the late Italian madrigal were approached. In order to confront this information, it was done an analysis of the relation text / music on two poetic terms - love and death - through which we concluded how was the maturing process of the composer¿s writing, and the relevance of his poetic ideal as an interpretive tool
Doutorado
Praticas Interpretativas
Doutor em Música
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Alvar, Blomgren. "”By the iron hand of oppression" : The performance of the parliamentary election contest in Nottingham and Middlesex 1802-1803." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143964.
Full textAbstract:
The aim of this thesis is to investigate how politics was done at the level of the parliamentary constituencies at the time of the treaty of Amiens 1802-1803. This is achieved through two case studies of the elections in Middlesex and Nottingham, which are investigated as social practices. This thesis argues that understandings of masculinity and national identity, as well as questions about the nature of the constitution and citizen rights were central to participants in the extraparliamentary political process. Collective emotions were also highly important in the process of mobilising political support, and this thesis emphasises that participation in these elections was a collective effort; men and women from all levels of society were significant political actors. Moreover, this thesis demonstrates the importance of competences such as knowledge about the organisation of crowds and political violence in the performance of the election.
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Chen, Yun-Ju, and 陳韻如. "Case Study on Century-old Businesses''Innovative Strategy, Management Practice and Organization Performance." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/45574370268934208344.
Full textAbstract:
碩士國立臺灣大學
企業管理碩士專班
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There are only a handful of companies in the world with over 100 years of history. How century-old enterprises can last through the ages and continue the vitality? Firms are born, they grow, and then they struggle to keep up with changing markets, various companies entered a market in response to a new trend, but quickly engaged in price wars and failed to survive due to lack of innovation. I was fortunate to work at Corning’s new product development department, so began to develop a better understanding of century-old company’s new production development process, and realized that there are superior methodologies that enable a company to operate for over 100 years and continue to remain an industry leader. This study would like to explore the reasons of those century-old businesses to succeed, to know if the innovative management and culture influence company’s performance. Through four century-old businesses’ case study (Corning, 3M, Kodak and Fujifilm), we found some key factors had let century-old enterprises toward prosperous or decline, the every step and decision that company’s management decide would definitely influence business performance in the end. In order to sustain for long, many companies want to catch up with the next generation technologies and products. However, entrepreneurs rarely get their strategies exactly right the first time, some vital factors for those century-old businesses to come up with right strategies and rise again at the critical moments. Culture is key to innovation success. Innovation is not necessary “the amazing invent”, its means “Change”, change for new opportunity. In Corning’s 160 years of history, there have been many examples of technological innovations that helped birth new technology and new products by partnering with giant customers in various industries. There is a technology revolution in semiconductor industry, the semiconductor industry has followed a path defined by Moore''s Law for 40 years; 3D IC technology is the next generation of electronics. Corning would like to leverage its core competence to seize this new opportunity with cooperate with giant semiconductor players, and to make the possibilities real.
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"Nineteenth-century Performance and Editorial Practice: A Study of Beethoven's Sonata in C-sharp minor, Op. 27 No. 2." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57229.
Full textAbstract:
abstract: During the nineteenth century, it was common for pianists to publish their own editions of Beethoven’s piano sonatas. They did this to demonstrate their understanding of the pieces. Towards the end of the century, musicians focused their attention on critical editions in an effort to reproduce the composer’s original intention. Unfortunately, this caused interpretive editions such as those created in the nineteenth century to fade from attention. This research focuses on situating these interpretive editions within the greater discourse surrounding the editorial development of Beethoven’s piano sonatas. The study opens with the critical reception of Beethoven, his Sonata in C-sharp minor, Op. 27 No. 2, also known as the “Moonlight” Sonata, the organology of the nineteenth-century fortepianos and the editorial practices of subsequent editions of the piece. It also contextualizes the aesthetic and performance practice of nineteenth-century piano playing. I go on to analyze and demonstrate how the performance practices conveyed in the modern Henle edition (1976) differ from those in selected earlier interpretive editions. I will conclude with an assessment of the ways in which nineteenth-century performance practices were reflected by contemporary editions.
This study compares the First edition (1802) and seven selected editions of Beethoven’s “Moonlight” Sonata by Ignaz Moscheles (1814), Carl Czerny (1846), Franz Liszt (1857), Louis Köhler (1869), Hugo Riemann (1885), Sigmund Lebert and Hans von Bülow (1896), and Carl Krebs (1898) with the Henle edition. It covers the tempo, rubato, articulations, phrasing, dynamics, fingerings, pedaling, ornamentation, note-stem and beaming, pitch, and rhythm. I evaluate these editorial changes and performance practice to determine that, compared to modern practice, the 19th century fostered a tendency of applying rubato, longer slurs, diverse articulations, and expanded dynamic range. Furthermore, the instructions of fingerings, pedaling and ornamentation became more detailed towards the end of the century.Dissertation/Thesis
Doctoral Dissertation Music 2020