Relevant bibliographies by topics / Domenico Scarlatti

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  2. Dissertations / Theses
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Academic literature on the topic 'Domenico Scarlatti'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Domenico Scarlatti"

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Turner, A. G. L. "Domenico Scarlatti." Musical Times 126, no. 1714 (December 1985): 712. http://dx.doi.org/10.2307/965190.

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DECKER, TODD. "‘SCARLATTINO, THE WONDER OF HIS TIME’: DOMENICO SCARLATTI’S ABSENT PRESENCE IN EIGHTEENTH-CENTURY ENGLAND." Eighteenth Century Music 2, no. 2 (September 2005): 273–98. http://dx.doi.org/10.1017/s1478570605000382.

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Domenico Scarlatti played a consistently significant role in English musical life from 1738 to the end of the century, even though he never travelled to England. His ‘absent presence’ was mediated by the eighty-three Scarlatti sonatas available in print in the eighteenth century. Scarlatti’s ‘English’ sonatas – defined here as those pieces available in print or manuscript to an eighteenth-century English player – display common compositional traits, in particular the frequent use of virtuoso techniques that appeal to the eye as well as the ear, such as crossed-hand passagework and leaps. English professional keyboard players used these visually virtuoso sonatas to establish their credentials in a competitive market, and the performance of this repertory – the most difficult in print – remained a benchmark for skilful execution at the keyboard to the end of the century. The performance venues for Scarlatti sonatas are difficult to document outside of anecdotal evidence drawn from personal accounts such as those by Charles and Fanny Burney. I provide new documentary evidence for semi-public performances of Scarlatti sonatas by Charles Jr and Samuel Wesley in the 1770s and offer further evidence that Scarlatti’s music held its place during a period of profound change in musical style and taste. Even as his sonatas were published and played to the end of the century, Scarlatti was frequently invoked in writings on music and aesthetics. His shifting position as exemplar or bad example is demonstrated in texts by Charles Avison, William Crotch, Uvedale Price, Sir John Hawkins and Charles Burney. Much like Arcangelo Corelli, another Italian with a strong absent presence principally mediated by print, Domenico Scarlatti had a powerful and lasting impact in England. This article presents an eighteenth-century portrait in absentia of the ‘English’ Scarlatti, suggesting how this elusive figure might be moved out of courtly isolation and into the thick of the eighteenth-century musical marketplace.
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SHEVELOFF, JOEL. "Domenico Scarlatti: Tercentenary Frustrations." Musical Quarterly LXXI, no. 4 (1985): 399–436. http://dx.doi.org/10.1093/mq/lxxi.4.399.

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Hammond, Frederick, and Malcolm Boyd. "Domenico Scarlatti, Master of Music." Notes 44, no. 3 (March 1988): 476. http://dx.doi.org/10.2307/941527.

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Schott, Howard. "Domenico Scarlatti Festival in Boston." Early Music XXVI, no. 4 (November 1998): 699–700. http://dx.doi.org/10.1093/earlyj/xxvi.4.699.

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Johnsson, Bengt. "unbekannte Sonate von Domenico Scarlatti." Die Musikforschung 34, no. 3 (September 22, 2021): 309–10. http://dx.doi.org/10.52412/mf.1981.h3.1650.

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Mikusi, Balázs. "Bartók and Scarlatti: A study of motives and influence." Studia Musicologica 50, no. 1-2 (March 1, 2009): 3–27. http://dx.doi.org/10.1556/smus.50.2009.1-2.1.

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The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.
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D'Ávila, Humberto. "Domenico Scarlatti e a Cultura Portuguesa." Revista Música 3, no. 2 (November 1, 1992): 105. http://dx.doi.org/10.11606/rm.v3i2.55043.

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O Libro di Tocate per Cembalo do Instituto Português do Patrimônio Cultural - IPPC (FCR 194.1), onde se copiam 60 sonatas, é por si mesmo um exemplar único no espólio do compositor Domenico Scarlatti e até agora desconhecido. Ao se proceder ao cotejo do incipit de cada peça com o das Sonatas reconhecidas do mestre napolitano, de todas as sonatas compiladas, uma havia, a nº 25 da série, que não coincidia com qualquer outra, era desconhecida e podia, pois, considerar-se inédita. O achado era de festejar, pois se verificava no próprio ano de 1985, o dos centenários do nascimento de Bach, Händel e Scarlatti. Ademais da inclusão da sonata inédita, na tonalidade de lá maior, preferida do autor, contém outras informações que acrescentam o seu valor documental.
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Martínez. "DOS OBRAS INÉDITAS DE DOMENICO SCARLATTI." Revista de Musicología 8, no. 1 (1985): 51. http://dx.doi.org/10.2307/20794968.

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Sutherland, David. "Domenico Scarlatti and the Florentine Piano." Early Music XXIII, no. 2 (May 1995): 243–57. http://dx.doi.org/10.1093/earlyj/xxiii.2.243.

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Dissertations / Theses on the topic "Domenico Scarlatti"

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Boulanger, Richard. "Les Innovations de Domenico Scarlatti dans la technique du clavier /." Béziers (BP 4049, 2 Pl. de la Révolution, 34325 Cedex) : Société de musicologie de Languedoc, 1988. http://catalogue.bnf.fr/ark:/12148/cb349402105.

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Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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Navakaitė, Neringa. "Domenico Scarlatti kūrybos bruožai bei klavyrinių sonatų sandaros ir muzikos kalbos ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_133014-38005.

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Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yra prieinamos apie 500. D. Scarlatti savo sukurtas klavesinines kompozicijas pavadino „Essercizi per Gravicembalo“ (etiudai, pratimai, bipartitos klavesinui). Daugelis šių sonatų kompozitoriui praversdavo jo pedagoginiame darbe. Savo sukurtose sonatose D. Scarlatti techninius uždavinius derindavo su meniniu turiniu. Nors italų meistro klavyriniai kūriniai pavadinti sonatomis, tačiau, pagal jose esančius įvairiems žanrams būdingus bruožus, kompozicijas galime suskirstyti į svarbiausius mokyklinio repertuaro žanrus: polifoninės sandaros kompozicijas, etiudus, stambios formos tipo kūrinius bei įvairaus pobūdžio pjeses. Kompozitorius kaip tikras virtuozas ir revoliucionierius buvo daugelio naujovių savo klavesininėje kūryboje bei jos atlikime skleidėjas. Jo kūryboje užfiksuoti tokie pasiekimai kaip: žėrinčių gamų per kelias oktavas pasažai, įvairiausios faktūros arpeggio (trumpi ir laužyti)... [toliau žr. visą tekstą]
Domenico Scarlatti (1685-1757) – one of the most famous Baroque epoch italian composer, harpsichordist, organist, pedagogue and performer. His harpsichord creativity is undoubted XVIII century phenomenon of music culture. D. Scarlatti piano works are realted to the period, when homophonic music language came over polyphonic style. Though the composer created various kind of compositions, the most important part of creativity is the harpsichord sonatas. These pieces monumentalized the name of the italian composer into the history of music life. He created more than 600 harpsichord sonatas, but today there are only about 500 available to performers. D. Scarlatti‘s harpsichord compositions named by him self „Essercizi per Gravicembalo“ (etudes, exercises, bipartitas for harpsichord). Most of these sonatas were useful in composers pedagogic work. In his sonatas, D. Scarlatti has associated technical exercises with artistical matters. Piano pieces of the italian maestro were titled by the name of sonatas, but of the features existent in them, we can collect these compositions into most important genres in music school repertoire: polyphonic structure compositions, etudes, big forms type pieces and various kind of plays. The composer was a spreader of this many novelty in his harpsichord creativity work and in performing it like a really virtuoso and big revolutionist. His works include such achievements as: sparkling scale passages through several octaves, various kind of... [to full text]
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Abbassian-Milani, Farhad. "Zusammenhänge zwischen Satz und Spiel in den Essercizi (1738) des Domenico Scarlatti /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb39996118t.

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Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.

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Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.

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Bibliography: leaves 56-57.
The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices already in place. However, it was through experimentation and modifications, which resulted in increased virtuosity in others, that they bridged the gap between the Baroque and the Classical periods, and contributed profoundly to the development of the keyboard sonata.
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Marx-Weber, Magda. "Domenico Scarlattis ”Miserere”-Vertonungen für die Cappella Giulia in Rom." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38292.

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Giliberti, Patrizia. "A interpretação das sonatas de Domenico Scarlatti no piano moderno: edição crítica dos manuscritos: "Manuscrito P-Cug MM 58, 10 da Biblioteca Geral da Universidade de Coimbra", "Essercizi per Gravicembalo (1738) da Biblioteca Nacional de Portugal" e "Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal"." Doctoral thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/10693.

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A tese tem o objetivo de dar os fundamentos para uma interpretação atual, no piano moderno, das sonatas de Domenico Scarlatti contidas nas coleções portuguesas: Essercizi per gravicembalo, Manuscrito P-Cug MM 58,10 da Biblioteca Geral da Universidade de Coimbra e Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal, originalmente compostas para os instrumentos de tecla da época. Apresenta uma nova edição crítica destas sonatas, em notação moderna e com dedilhação, que tem como base a análise formal e harmónico-estrutural, incluindo os aspetos organológicos, de ornamentação, andamento, ritmo, fraseado, articulação, dedilhação, dinâmica e uso do pedal das mesmas sonatas, o estudo comparativo de todas as fontes existentes, assim como uma análise das diversas gravações disponíveis. Do mesmo modo, o compositor e a sua obra, com especial relevo para as sonatas, encontram-se historicamente contextualizados, pois a compreensão das suas intenções, da prática da época e das suas convenções de interpretação devem ser aliadas à criatividade do intérprete; #### ABSTRACT: The purpose of the thesis is to provide the basis for a modern interpretation on the modern piano of Domenico Scarlatti's sonatas included in the Portuguese collections, Essercizi per gravicembalo of Biblioteca Nacional de Portugal, Coimbra Manuscript n. 58 P-Cug MM 58,10 and the Portuguese F. C. R. Manuscript 194. 1 of Biblioteca Nacional de Portugal which were originally composed for the keyboard instruments of the time. A new critical edition of these sonatas is presented, with modern notation and fingering, based on a formal, structural and harmonic analysis, including some aspects regarding organology ornamentation, tempo, rhythm, phrasing, articulation, fingering, dynamics and the use of the pedal, a comparative study of all existing sources as well as an analysis of various recordings available. The composer and his work are also historically contextualized with special focus on the sonatas, because a comprehension of his intentions and the performance practices of his time should be associated to the creativity of the interpreter.
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Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.

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This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the Classical period, like Ludwig van Beethoven and Carl Maria von Weber, expanded the device into octaves, which before the end of the nineteenth century was adopted by Bedrich Smetana, Johannes Brahms, and Mily Balakirev. Franz Liszt produced many two-hand and double-note glissandi, and his output of glissandi is the most numerous in the entire piano repertoire. In twentieth-century, Bela Bartok produced a dry effect in the glissando, while Prokofiev produced the most numerous glissandi in this century. Hindemith wrote an unusual form of black-and-white glissando; Tippett's example is of the "fanfare" effect; and Britten contributed many glissandi in a single work, to a degree perhaps exceeded only by Liszt's works. For nationalistic composers, like Manuel de Falla and Heitor Villa-Lobos, the glissando is a fine device to express the feeling of ethnic emotions, such as joyful and energetic. Besides, the use of the black-key glissando gives composers a fine application for impressionistic purposes, since its pentatonic orientation is easy to liken to images of nature: water, wind, etc. Such examples are found in the works of Claude Debussy, Maurice Ravel, and others. Nonetheless, it becomes less crucial in this harmonic consideration in the works of more recent composers, in whose works the concept of tone-clusters or just a "noise" is revealed. This thesis also includes two appendices, one contains a chart of 473 glissandi categorized by function, and the second, an original composition by the author, which includes numerous glissandi in various types.
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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.

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Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.
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Books on the topic "Domenico Scarlatti"

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Bassi, Adriano. Domenico Scarlatti. Ravenna, Italia: M. Lapucci, 1985.

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Place, Adélaïde de. Alessandro et Domenico Scarlatti. Paris: Fayard, 2003.

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Boyd, Malcolm. Domenico Scarlatti--master of music. London: Weidenfeld and Nicolson, 1986.

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Domenico Scarlatti--master of music. London: Weidenfeld and Nicolson, 1986.

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Domenico Scarlatti--master of music. New York: Schirmer Books, 1987.

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Biesold, Maria. Domenico Scarlatti: Die Geburtsstunde des modernen Klavierspiels. Wittmund: Edition Musica et Claves, 1990.

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Alessandro and Domenico Scarlatti: Two lives in one. Hillsdale, NY: Pendragon Press, 2007.

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1973-, Moiraghi Marco, ed. Le sonate di Domenico Scarlatti: Contesto, testo, interpretazione. Lucca: LIM Libreria Italiana Musicale, 2014.

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Scarlatti: Alessandro e Domenico, due vite in una. Milano: A. Mondadori, 1985.

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Vidali, Carole Franklin. Alessandro and Domenico Scarlatti: A guide to research. New York: Garland Pub., 1993.

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Book chapters on the topic "Domenico Scarlatti"

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten, 217–20. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_43.

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten Lexikon, 530–32. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_268.

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Metzler Komponisten Lexikon, 675–78. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_263.

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Boyd, Malcolm. "Like father like son? Domenico Scarlatti as an opera composer." In »Critica musica«: Studien zum 17. und 18. Jahrhundert, 13–23. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02784-9_2.

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"Domenico Scarlatti." In Eighteenth-Century Keyboard Music, 153–85. Routledge, 2004. http://dx.doi.org/10.4324/9780203427118-13.

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"Front Matter." In Domenico Scarlatti, i—iv. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.1.

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"THE SPANISH SCENE." In Domenico Scarlatti, 81–106. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.10.

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"THE REIGN OF THE MELOMANES." In Domenico Scarlatti, 107–36. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.11.

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"ROYAL SONATAS." In Domenico Scarlatti, 137–74. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.12.

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"SCARLATTI’S HARPSICHORD." In Domenico Scarlatti, 175–206. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bw47.13.

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Conference papers on the topic "Domenico Scarlatti"

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Hsieh, MingChih. "Music of Domenico Scarlatti." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.135.

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