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Dissertations / Theses on the topic 'Domenico Scarlatti'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

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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2

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 re
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3

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 yr
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4

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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5

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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6

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.<br>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
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7

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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8

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,
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9

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 C
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10

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
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11

Yáñez, Navarro Celestino. "Nuevas aportaciones para el estudio de las sonatas de Domenico Scarlatti. Los manuscritos del Archivo de Música de las Catedrales de Zaragoza." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394016.

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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 descobri
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12

Heiden, Mary Gifford. "Patronage, Connoisseurship and Antiquarianism in Georgian England: The Fitzwilliam Music Collection (1763-1815)." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103327/.

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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
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13

Paz, Martha Costa Guterres. "Avalovara: leituras musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.

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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
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14

De, La Matter Katherine. "Domenico Scarlatti's Tolomeo et Alessandro : an investigation and edition." Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551235.

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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 libr
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15

Sulaiman, Samaa. "Les pianistes et le répertoire du baroque tardif pour clavier : réflexion sur un corpus d’interprétations discographiques (J.S.Bach, Rameau, D.Scarlatti)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20058/document.

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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 mode
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16

Oliveira, Miguel de Laquila. "Transcrição e performance na guitarra das sonatas de Domenico Scarlatti." Doctoral thesis, 2019. http://hdl.handle.net/10773/27525.

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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 sistem
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17

Pan-Yan, Qian-Fei, and 潘閻芊翡. "The Analysis and Interpretation of Five Keyboard Sonatas by Domenico Scarlatti." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46938856938624038002.

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碩士<br>台南科技大學<br>音樂研究所<br>98<br>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 ha
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18

CAI, XIAWEI, and 蔡夏微. "A Study on the Style in the Keyboard Sonatas by Domenico Scarlatti (1685-1757)." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/x86939.

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碩士<br>東吳大學<br>音樂學系<br>107<br>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 rese
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19

Fang, I.-Ching, and 方奕晴. "An Analysis and Interpretation of Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano by Marcel Bitsch." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/u8wj7t.

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碩士<br>國立臺南藝術大學<br>鋼琴合作藝術研究所<br>103<br>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 t
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20

Huang, Tzu-Ping, and 黃紫萍. "A Study of Domenico Scarlatti’s Six Keyboard Sonatas." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54363959814989578129.

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碩士<br>台南科技大學<br>音樂研究所<br>98<br>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 o
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21

Yeh, Pin-I., and 葉品誼. "An Exploration and Teaching Application of Domenico Scarlatti’s Piano Sonatas." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/rkkqs2.

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碩士<br>台南應用科技大學<br>音樂系碩士班<br>106<br>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 c
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