Dissertations / Theses on the topic 'Domenico Scarlatti'

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.

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]

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.

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.

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.

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.

Tradicionalment, s’ha donat per descomptat que la difusió de la música de Domenico Scarlatti durant el segle XVIII a Espanya fou escassa. Es creia que la circulació de música de tecla es va circumscriure a la cort de Madrid i la seva propera àrea d’influència, sobretot, per dues raons. La primera, pel fet que el nombre de còpies manuscrites trobades als arxius espanyols era reduïda, cosa que ha canviat en els darrers últims anys. La segona, pel desconeixement de que podria existir a Espanya una gran col·lecció de sonates realitzada en vida de Domenico Scarlatti. No obstant això, el descobriment dels manuscrits de sonates existents a Saragossa, dut a terme pel Dr. José Vicente González Valle, ha permès disposar d’un nou fons documental d’especial transcendència per als investigadors. La present tesi doctoral, que suposa el primer treball realitzat sobre aquestes fonts espanyoles a nivell internacional, ha donat lloc a l’aflorament de noves dades inèdites; i conseqüentment, ha posat de manifest la necessitat de revisar algunes de les tesis assumides pels investigadors més rellevants sobre aquesta matèria. A partir del meu estudi, he arribat a la conclusió que els còdexs van poder ser originàriament propietat del compositor espanyol, d’origen aragonès, José de Nebra, que va estar més de quaranta anys al servei de la cort espanyola. La col·lecció de sonates de Saragossa tindria el seu origen a la possible relació existent entre D. Scarlatti i José de Nebra; músics que van coexistir en la cort des de 1733 (any en què Ferran VI i Maria Bàrbara de Bragança es van instal·lar definitivament a Madrid) fins a 1757 (any de la mort de D. Scarlatti). Considerant el nombre d’obres, l’origen dels manuscrits, els copistes que hi intervenen, la data primerenca de còpia de la música, i el valor musicològic de les versions contingudes, no hi ha cap dubte que la col·lecció de Saragossa és única a Espanya, situant-se al mateix nivell de les col·leccions de Venècia i Parma.
Tradicionalmente, se ha dado por supuesto que la difusión de la música de Domenico Scarlatti durante el siglo XVIII en España fue escasa. Se creía que la circulación de sus sonatas para teclado se circunscribió a la corte madrileña y a su área próxima de influencia, sobre todo, por dos motivos. El primero, por el hecho de que el número de copias manuscritas encontradas en los archivos españoles era reducido, algo que ha cambiado en los últimos años. El segundo, por el desconocimiento de que pudiera existir en España alguna gran colección de sonatas elaborada en vida de Domenico Scarlatti. No obstante, el hallazgo de los manuscritos de sonatas existentes en Zaragoza, llevado a cabo por el Dr. José Vicente González Valle, ha permitido disponer de un nuevo fondo documental de especial trascendencia para los investigadores. La presente tesis doctoral, que supone el primer trabajo realizado sobre estas fuentes españolas a nivel internacional, ha dado lugar al afloramiento de nuevos datos inéditos; y consecuentemente, ha puesto de manifiesto la necesidad de revisar algunas de las tesis dadas por sentadas por los investigadores más relevantes sobre esta materia. A través de mi estudio, he llegado a la conclusión de que los códices pudieron ser originariamente propiedad del compositor español, de origen aragonés, José de Nebra, quien estuvo más de cuarenta años al servicio de la corte española. La colección de sonatas de Zaragoza pudo tener su origen en la posible relación existente entre D. Scarlatti y José de Nebra; músicos que coexistieron en la corte desde 1733 (año en el que Fernando VI y María Bárbara de Braganza se instalaron definitivamente en Madrid) hasta 1757 (año de la muerte de D. Scarlatti). Considerando el número de obras contenidas, el origen de los manuscritos, los copistas que intervienen, la fecha temprana de copia de la música, y el valor musicológico de las versiones contenidas, no cabe duda alguna de que la colección de Zaragoza es única en España, situándose al mismo nivel de las colecciones de Venecia y Parma.
It has been traditionally believed that the diffusion of the music by Domenico Scarlatti during the 18th century in Spain was scarce. It has been taken for granted that diffusion of his sonatas for keyboard was limited to the circle of the court of Madrid and its nearest area of influence. This argument was sustained for a long time mainly because of two reasons. The first one, because the number of manuscript copies found in Spanish archives was small, something that has changed over the last years. The second one, because of the ignorance that there could exist a great collection of sonatas composed during the lifetime of Domenico Scarlatti in Spain. Nevertheless, the founding of a great corpus of sonatas in Saragossa by Dr. José Vicente González Valle, has meant the opening of a new and relevant line of research. In this sense, this doctoral thesis, which is the first work made about these Spanish sources on an international level, has allowed the outcoming of unpublished data; and consequently, has shown the need to revise some of the thesis put forward as true by the most relevant researchers on this field. During my investigation, I have reached the conclusion that the codexes could have been originally owned by the Spanish composer, of Aragon origin, José de Nebra, who served for over forty years for the Spanish court. The collection of sonatas from Saragossa could have its origin in the possible relationship between D. Scarlatti and José de Nebra; musicians who coexisted in the courtfrom 1733 (year when Fernando the sixth and María de Braganza definitely settled in Madrid) and seventeen-fifty-seven (year of the death of D. Scarlatti). Considering the number of works within, the origin of the manuscripts, the copyists that intervened, the early date of the copy of the music, and the musicological value of the versions, there is no doubt that the collection of Saragossa is unique in Spain, being at the same level of the collections of Venice and Parma

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007).
This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

This investigation focuses on Domenico Scarlatti's Tolomeo et Alessandro (Rome, 1711), as a representative part of an understudied body of work by a composer who is well-known, but not often acknowledged for his vocal works. The dramma per musica was one of the most popular forms of entertainment in Rome in this period, particularly amongst the most influential group of literati in Italy at that time: the Accademia dell' Arcadia. Scarlatti's setting of this work took place against the backdrop of the turbulent literary aesthetics of the Arcadians: the patron who commissioned the work, the librettist, and a number of members of the audience for which it was composed belonged to the organization. Assessment of the location of features of the libretto within the spectrum of Arcadian practice will preface an examination of the means by which these valued elements were realised in the musical setting. Analysis of Scarlatti' s response to the libretto will assess musical structures, instrumentation, harmonic and melodic devices and tempi, with a view to synthesising an understanding of his practice in setting those literary and theatrical devices appreciated by Arcadian listeners. The study will conclude with brief comparisons of Scarlatti's stylistic characteristics to those evident in other extant drammi per musica by the composer, select works by his father Alessandro, and Handel's setting of the same libretto: Tolomeo, re d'Egitto (1728). The sole complete score of Tolomeo et Alessandro is held by the National Trust at Belton House, Lincolnshire, UK. An edition of this score, presented in Volume II with an accompanying preface and apparatus, complements the discussion in Volume 1. In turn, Volume I provides extensive information about the physical materials of the sources of the edition, and commentary relevant to performance of the work. As complete sources of Roman operas from this period are rare, this edition is included not only as an integral part of the dissertation, but also as a resource for the reader, and for future scholarship.

Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique moderne de la musique ancienne. Nous nous intéressons particulièrement au répertoire pour clavier de l’époque du baroque tardif. L’instrument pratiqué aujourd’hui, le piano, occupe une place visible dans l’interprétation de ce répertoire. Or, ce répertoire a été conçu pour des instruments différents. Comment le piano a-t-il conquis son statut d’instrument propre à l’exécution de ces oeuvres ? Comment les pianistes ont-ils vécu le mouvement baroquiste ? qu’en est-il des aptitudes du piano à rendre justice à cette musique ? Quelles sont les philosophies interprétatives impliquées dans la problématique ? La recherche projetée se propose de répondre à ces questionnements, en choisissant pour terrain d’étude des oeuvres de Bach, Scarlatti et Rameau, compositeurs porteurs chacun de caractéristiques stylistiques particulières. L’étude analytique appliquée sera circonscrite aux enregistrements discographiques depuis l’époque du microsillon
The second half of the twentieth century witnessed the development of the movement of renewal in the interpretation of old music, especially that of the Baroque period, depending on theoretical updating, reading and studying of contemporary works that provided musicians with a range of elements which have no relation with the traditional interpretation inherited from the nineteenth century.The approach applied in composing music was accompanied by a restoration and reopening of the former instruments, which became essential to the modern performance of old music. As a pianist, I am very much interested in the keyboard repertoire of the late Baroque, or the second half of the eighteenth century. The instrument played today, the modern piano, has a visible place in the landscape interpretation of baroque repertoire for keyboard. However, these works were designed for an entirely different instrument. How could the harpsichord play old works? How pianists interested in Baroque music experienced the movement "baroque"? What is really the piano skills do to this music? Beyond that, how are the philosophers of interpretation involved in this issue? What is their philosophy and how was it built? The proposed study aims to answer this set of questions, preferred the keyboard works String of Bach, Scarlatti and Rameau, composers representing distinct tradition of writing and Holders of each particular stylistic characteristics.The analytical study was applied in addition to recordings from the time of microstomia
شهد النصف الثاني من القرن العشرين تطورا مشهودا لحركة تجديد أداء الموسيقا القديمة, خصوصا موسيقا الباروك,مستندة على قاعدة نظرية إن إعادة النظر قراءة و دراسة الأعمال الحديثة قدمت للموسيقيين مجموعة عناصر سمحت لهم ببناء أداءات موسيقية تقطع صلتها تماما مع تقاليد أداء القرن التاسع عشر إن المنهجية المطبقة على كيفية الصياغة الموسيقية, ترافقت مع عملية ترميم و إعادة بناء معتمدين على ا لعودة إلى الآلة القديمة التي أصبحت بدورها عنصرا أساسيا في عملية الأداء المعاصر للموسيقا المؤلفة ماقبل ١٨٠٠كوني عازفة بيانو أعير اهتماما خاصا لمجموعة الأعمال المكتوبة لآلات الكلافيه في فترة الباروك المتأخرةأو الجزء الثاني من القرن الثامن عشر. الآلة الممارسة اليوم البيانو المعاصر يشغل مكانا مركزيا في أداء مجموعة هذه الأعمال. لكن هذه الأعمال كانت مكتوبة و مخصصة لآلات مختلفة كيف استطاعت آلة المطارق (البيانو) أن تحتل مكانها كآلة قادرة بدورها على أداء الأعمال القديمة؟ كيف نظرعازفو البيانو المهتمون بموسيقا الباروك الى ظاهرة حركة الباروكيين؟ ماهي صلاحيات آلتهم لاعطاء هذه الموسيقا حقها الكامل؟ ماهي الفلسفات التي تتضمنها هذه الإشكالية, ما هو تاريخ هذه الفلسفات وعلى أي أساس بنيت؟ إن البحث الآتي يقترح الإجابة على مجموعة هذه الأسئلة بالاستناد إلى دراسة خاصة لأعمال آلات الكلافيه للمؤلفين باخ, رامو وسكارلاتي، الذين يمثل كل منهم مدرسة قائمة بحد ذاتها, و تتميزمؤلفات كل منهم بخصائص أسلوبية واضحة. الدراسة التحليلية المطبقة, معززة أيضا بتسجيلات صوتية لأداءات مختلفة على آلة البيانو منذ عام ١٩٥٠ حتى يومنا الحاضر

A presente tese busca investigar as diferentes concepções interpretativas na guitarra das sonatas de D. Scarlatti e as particularidades dos cordofones barrocos. Apresenta uma proposta interpretativa, orientada pela construção de uma versão idiomática das peças à guitarra clássica. O aprofundamento da compreensão sobre os elementos técnico-musicais da guitarra barroca, das distintas perspectivas interpretativas, assim como a observação dos processos utilizados na adaptação das sonatas à guitarra, embasou e inspirou o desenvolvimento de uma interpretação e a realização das transcrições. A sistematização destes conhecimentos busca a ampliação do leque de escolhas e a expansão das possibilidades expressivas da obra de Scarlatti à guitarra.
The present thesis seeks to investigate the interpretive conceptions on the guitar of D. Scarlatti sonatas and the particularities of the baroque chordophones. It presents an interpretative proposal, oriented by the construction of an idiomatic version of the pieces to the classical guitar. The understanding of the technical-musical elements of the baroque guitar, of the different interpretive perspectives, as well as the observation of the processes used in the adaptation of the sonatas to the guitar, supported and inspired the development of an interpretation and of the transcriptions. The systematization of this knowledge seeks to expand the range of choices and the expansion of the expressive possibilities of Scarlatti's work at the guitar.
Programa Doutoral em Música

碩士
台南科技大學
音樂研究所
98
In 1685, three great composers were born. In addition to the well-known J. S. Bach and Händel, there was also one composer—Domenico Scarlatti, who had composed 545 keyboard sonatas. Although Scarlatti was not born in Spain, his keyboard sonatas are filled with Spanish ethnic style. Guitar music is especially an important factor in his compositions— throughout his life. Furthermore, in his sonatas, D. Scarlatti utilized many keyboard techniques and skills that had almost surpassed the capacity of the harpsichord at that time, in which the gamut and the skill of harpsichord playing could be explored to an extreme, for example, long-distance jumping with hand-crossing, quick hand alternations during fast passages, repeating the same note swiftly, etc. In contemporary piano playing, such skills remain essential for advanced piano players, also the prerequisite skills for all the players. In the 18th Century, suites consisting of several pieces of dance music prevailed. However, Scarlatti titled his compositions as sonatas. As for the reason, by analyzing Scarlatti’s unique compositional methods, and musical forms in his sonatas, and compare them with 18th Century keyboard and violin suites, the author wishs to understand whether there is any correlation between his sonatas and the suites commonly-composed at that time in Baroque Period. The five keyboard sonatas by Scarlatti studied in this report are: “L. 413/ K. 9”, “L. 108/ K. 213”, “L. 422/ K. 141”, “L. 449/ K. 27”, and “L. 465/ K. 96”. These sonatas include many Spanish guitar music characteristics as well as the more difficult playing skills. Through formal analysis and the exploration of performance interpretation, these aspects can be better understood.

碩士
東吳大學
音樂學系
107
The composer Domenico Scarlatti (1685-1757) who created 555 keyboard sonatas, opened up a new path for later composers with the advanced sense of innovation in the development of Western music history. D. Scarlatti pushed the creation and performance of keyboard music to a new level. This dissertation conducts a comprehensive and systematic analysis of the style, performance skills and music structure of the unique music language of D. Scarlatti's keyboard sonatas. 　　This dissertation consists of five chapters. The first chapter, "introduction", introduces the research object, scope, method, motivation and purpose of this dissertation, as well as relevant literature discussion. The second chapter, "an overview of D. Scarlatti’s life and music", this chapter studies D. Scarlatti's family, court position and music cultural environment experience in different countries to understand D. Scarlatti's living background and early music education and deduce the objectivity of his keyboard sonata style. The third chapter, "creative origin", studies and classifications the creative origin of D. Scarlatti sonatas, traces the possible sources of style, and analysis the overall style characteristics of his sonatas to promote the indepth understanding of his works. The fourth chapter, "music structure and performance skills", focuses on the analysis of his harmonic application, in terms of musical structure, as well as the characteristics of performance skills and the teaching significance of his sonatas. This chapter is an important part of D. Scarlatti's sonata style. The fifth chapter "conclusion", this chapter is to summarize the full dissertation. 　　Based on the overall analysis and research of D. Scarlatti sonatas, this dissertation discusses the music style of D. Scarlatti sonatas by focusing on the technical characteristic and structure of D. Scarlatti sonatas, and tries to make some contributions to the research of D. Scarlatti sonatas.

碩士
國立臺南藝術大學
鋼琴合作藝術研究所
103
Marcel Bitsch (1921-2011) is a French composer in the 20th Century. He wrote a number of compositions for wind instruments and published books on theory of harmony, which bring significant impact on the areas of the wind instrument repertoire and the harmonic theory in modern music. Bitsch completed “Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano” in 1950. The composition contains one theme and four variations, in which the theme was derived from Domenico Scarlatti‘s “Sonata in D Major, K. 21” (1739). Bitsch varied the Baroque theme with modern harmonies and rhythms thus the style and character related to Neo-Classicism. The trumpet and the piano imitate and draw echoes toward each other throughout the entire composition. This thesis consists of three chapters. The first chapter, an overview of “Quatre Variations sur un Thème de Domenico Scarlatti” will be provided, including Bitsch’s biography, the background of his work, and the character of “Sonata in D Major, K. 21”. The second chapter is the analysis that how Bitsch used the theme of “Sonata in D Major, K. 21”, and the correlations between the theme and each variation in “Quatre Variations sur un Thème de Domenico Scarlatti”. In the third chapter, suggestions for performing this piece are given from the perspective of a collaborative pianist.

碩士
台南科技大學
音樂研究所
98
More than five hundred keyboard sonatas composed by Domenico Scarlatti during his whole life played a decisive role in his artistic creation career, and the originality of the compositions has profound influence in the development of the keyboard music history later on. Scarlatti took on a position as a keyboard teacher of Portugal princess, Maria Barbara, and composed a large quantity of keyboard compositions for instructing. In 1728, the princess moved to live in Spain as she married with Spanish prince, and Scarlatti was accompanied by the princess. In spite of being an Italian, Scarlatti was influenced gradually with the life in Spain and then integrated the national characteristic of Spanish into his music style spontaneously. He presented a unique music style both in application of harmony and technique performance, and also explored the new field in keyboard music then. In this study, it will present the background and experience of Scarlatti’s lifetime so as to explore the composer’s creative style and skill in field of keyboard, guide to comprehend the inner implications of the compositions through analyzing six keyboard compositions completely, and finally, express my interpretation and opinions at the end of the study.

碩士
台南應用科技大學
音樂系碩士班
106
Domenico Scarlatti (1685-1757) was noted particularly for his 555 piano sonatas, which had firmly established his exceptional presence in the Baroque period. Scarlatti was one of the most multi-stylistic and creative composers of the day. His works consist of various musical styles and genres. He also developed unique techniques of imitating other instruments’ sound and performing, which were different from contemporary performing mechanism. For example, he employed the movement of arm into piano performance. He also applied the rhythm of dance music in his compositions. Moreover, he was the precursor who developed the original Sonata form. These were his features as a composer who quite different with others.These features render him a unique composer from others at that time. This dissertation explores the historical background of Scarletti’s piano sonatas, and the result of this study can be a further model for the application of teaching. Scarlatti experienced Baroque and Pre-classic period. The experiences of Scarlatti during these two periods had had a profound effect on the musical styles and performance techniques of his 555 piano sonatas. Scarlatti laid the groundwork of his composition in the Baroque period. However, his 555 piano sonatas were created in the Pre-classic period, which were the essence of his lifetime works and also explained why his sonatas were mostly homophonic. Scarlatti’s sonatas are so varied in their forms and styles, which were highly influenced by Italian folk tunes and Spanish and Portuguese exotic dance rhythms at that time. Aside from his many sonatas, Scarlatti composed a number of Madrigals and the Fugues.form was frequently seen in his music. Besides, it is obviously to perceive that Scarlatti favored dance rhythms. Of the 555 Scarlatti sonatas nearly 400, principally running in triple meter and hexa meter, are created in the form of dance rhythm and mostly expressed in the tempo of Allegro and Allegro Vivace. Although Scarlatti sonatas were addressed “sonata” by scholars, they could be as the original form of sonata and the pioneer of the form of etude. His works inspired the successors with the concept of etude, which had made him become one of the most important composers in the history of art music. Scarlatti developed many groundbreaking techniques in piano sonata to pursuit the perfection of music and satisfy the need of auditory and visual modality, such as imitating other instruments’ sound and performing skills. He explored virtuoso technique in these sonatas, employing devices such as, big skip, hand-crossing, running scale and running thirds, sixths, and octaves, etc. It was remarkable innovation compared to contemporary performing mechanism, which was restricted only to local movement of forehands. Therefore, teachers can choose Scarlatti sonatas as teaching materials before introducing Romanticism repertoire to students. Scarlatti sonatas are rich in quantity and can be graded on the basis of the degree of performance difficulty. According to the ranking standard proposed by the book “Pianist’s Guide to Standard Teaching and Performnce Ltrture”written by J. Magrath, the researcher of this study tried to grade Scarlatti’s 555 sonatas into several classes. The researcher has found out that most of Scarlatti’s sonatas fall between 7th to 10th grade and only a few fall in 3rd grade. Finally, the researcher adopt Scarlatti’s work K. 24 and K. 239, which varied in technique, performance degree, and musical style, as further applications and models for teaching.