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Dissertations / Theses on the topic 'Harpsichord music Music'
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Camara, Queiroz de Souza Luciana. "Music and subjectivity in seventeenth-century free-style harpsichord music." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3328/.
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The present study explores the relationship between the seventeenth-century free-style repertoire for the harpsichord and the concept of subjectivity in early modern Europe. It involved considerations about the socio-historical role of music, the philosophic discussions on subjectivity, and cultural issues of the period. The reflection about the content of the works and the possible connection points between this music and subjectivity was centred on the concept of time in its musical, philosophic and cultural dimension. For the investigation of the textual and performative aspects of the musical discourse a phenomenological approach is chosen. Free-style music both articulates and sheds light on significant aspects of early modern subjectivity: the ambivalence between quantifiable and unquantifiable, the theatricality of self-expression, the subjective as object of representation, the balance between authority and subjugation, and the separation of the subject and his or her representation through perspective. It also calls attention to some facets of subjectivity that may be particularly musical: the intentionality of time flexibility, the subject’s conflict between fixity and transiency (instantiated in notated free-style music), and the shared nature of musical subjectivity (in connection with the understanding that the individual readings of the musical text may be seen as ‘appropriations’ of the composer’s playing style). Free-style music may be seen as both reflection and constitutive part of the subject’s move towards autonomy in the sense understood within modernity. It also expresses the vagueness and changeability of the seventeenth-century subject.
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Chung, David Yu-Sum. "Keyboard arrangements of Lully's music and their significance for French harpsichord music." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/252310.
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Rabe, Hans-Henning. "Studien zur Rondoform in der französischen Clavecinmusik zwischen Spätbarock und Frühklassik." Göttingen : [s.n.], 1991. http://books.google.com/books?id=QglFAAAAMAAJ.
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Otomo, Ayako. "Art, music and the harpsichord in seventeenth- and eighteenth-century France /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18614.pdf.
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Xu, Zhixin. "La nuit bleue." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1553614122095522.
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Martin, Margot. "Essential agréments : art, dance and civility in seventeenth-century French harpsichord music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103563h.
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Frank, Robert J. 1961. "Stellar Quintet: A Suite for Two Violins, Viola, Violoncello, and Harpsichord." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500418/.
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Stellar Ouintet is a composition in five movements (Prologue, Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violoncello, and harpsichord. It makes extensive use of constellations , a term used in this work to denote arrangements of pitches in spatial notation. This method of notation is derived from actual astronomical constellations. The score makes use of both real and freely constructed constellations which are rotated around their own central axis. The score is 90 pages long with a 28 page analysis preceding the score. The work has a performance time of approximately 18-20 minutes
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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.
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Thesis (M.M.)--University of North Texas, 2008.First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Wu, Siyu. "Harmonic and Rhythmic Transformation in Ligeti's Harpsichord Compositions: A Comparative Analysis of Continuum, Hungarian Rock and Passacaglia Ungherese." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595470695585872.
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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.
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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.
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Burns, Caryn L. "CONCERTO FOR HARPSICHORD, FLUTE, OBOE, CLARINET, VIOLIN, AND VIOLONCELLO BY MANUEL DE FALLA: AN (AUTO)BIOGRAPHICAL READING." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144356651.
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Daniel, Andrew. "Two Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Solo Guitar." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862826/.
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There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.
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Vera, Fernand Toribio Soler Antonio Soler Antonio. "Selected harpsichord sonatas by Antonio Soler analysis and transcription for classical guitar duo /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9727.
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Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).
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Hora, Edmundo Pacheco 1953. "As obras de Froeberger no contexto da afinação mesotonica." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284787.
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Orientador: Helena JankTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Com o objetivo de verificar a adequação do sistema de afinação utilizado no século XVII, com a produção musical de Johann Jacob Froberger (1616-1667), elaboramos um sistema de análise de todo o material publicado, visando identificar as eventuais discrepâncias entre eles. Assim, tanto a Denkmaeler der Tonkunst in Osterreich (Viena, Áustria 1903), a primeira edição com as obras do autor, quanto a mais recente e completa Neue Ausgabe sämtlicher Clavier- und Orgelwerke (Kassel, Alemanha 2003), foram comparadas. Os casos excepcionais, aquelas obras que não se adequaram ao parâmetro do sistema, foram extraídas e para elas, elaboramos uma tabela à parte (Tabela 2). Nela, encontramos uma obra que não se enquadra ao mesotônico padrão e para a qual elaboramos um estudo especial (Item 2.5.3), no final destacamos os problemas cruciais da enarmonia. Enarmonias nos instrumentos de afinação fixa não se referem ao temperamento mesotônico padrão com a divisão da coma em -1/4 S. Portanto, algum outro tipo de sistema de afinação foi provavelmente utilizado por Froberger, ainda que de maneira especulativa. Dessa forma, buscando compreender para qual tipo de afinação o compositor pensou as suas obras, centramos o nosso trabalho visualizando as possíveis contribuições proporcionadas aos sistemas de afinação e ao campo tonal da música erudita
Abstract: This work analyses the oeuvre of J. J. Froberger (1616-67) in order to show its adequacy, or eventual discrepancies, with the prevalent temperament in use in the 17th century. Therefore, a comparison was made between the Denkmaler der Tonkunst in Osterreich (Vienna, Austria 1903), the first available edition of Froberger's works, and the more recent and complete, Neue Ausgabe sämtlicher Clavier - und Orgelwerke (Kassel, Germany 2003). The exceptions, pieces which did not match the parameters of the tuning system, were put aside (a list of these pieces can be found on table 2). Among those, one work does not fit the standard meantone temperament, and for this a special analysis is provided (see item 2.5.3), pointing to crucial enharmonic problems at the end. Enharmonies, in instruments with fixed tuning, do not refer to standard meantone temperament, in which the division of the coma is ¿1/4 S. Consequently, it is probable that Froberger made use of other temperament, even if in a speculative way. Along our investigation to comprehend which temperament the composer has made use of when composing his works, we have also focused on his contributions to the field of tuning systems and tonal music
Doutorado
Doutor em Música
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Hunt, Janet Evelyn. "The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278911/.
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The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard concerto following its origins in the early 1700s. The results of this investigation show that W. F. Bach took the early keyboard concerto of his father's generation and added many of the characteristics which became associated with the mid-eighteenth century concerto. Friedemann retained the polyphonic interplay between tutti and solo, harmonic language, and tonal plan of his father's compositions and added a wealth of rhythmic ideas and a more modern melodic style. He worked within an established four ritornello/three solo plan for the outer movements, but employed a variety of formal plans for the middle movements. Friedemann heightened the contrast between the solo and the orchestra and infused the solo part with formidable virtuosity. At the same time he ensured that the solo and tutti material was related so that the two forces would work together while maintaining distinct identities. This study shows the high merit of W. F. Bach's harpsichord concertos and adds to another chapter in the history of the pre-Classical keyboard concerto.
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Zumpano, Nívia Gasparini 1968. "Os parâmetros expressivos na execução ao cravo e suas abordagens = um estudo sobre a expressividade cravística = Expressive parameters in the harpsichord performance: a harpsichord expressiveness study." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284444.
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Orientador: Edmundo Pacheco HoraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sobre sua influência na sonoridade do instrumento, procurando-se destacar questões relativas à possibilidade de dinâmica no cravo. Com o objetivo de verificar a maneira como a expressividade tem sido abordada no contexto de aprendizado cravístico e a forma como os estudantes manipulam os parâmetros analisados, realizou-se também uma pesquisa com alunos e ex-alunos de diversas Instituições de Ensino do país. Ao final, a análise dos resultados obtidos possibilitou a visualização da forma como os parâmetros podem influenciar acusticamente a sonoridade na execução, permitindo concluir que sua manipulação pelo intérprete amplia as possibilidades expressivas do instrumento
Abstract: In this thesis we offer a discussion about harpsichord's expressiveness with emphasis on some performance parameters. Thus, we defined some factors associated to the expressiveness from the specialized literature and in the next step we performed a study about its influence on harpsichord's sound, seeking to highlight the instrument dynamic possibilities. In order to check how the expressiveness has been addressed in the context of harpsichords' learning and how students manipulate the parameters, we also carried out a survey involving harpsichord students in different educational institutions. Finally, the results' analysis showed us how expressive parameters can influence acoustically the harpsichord sound, allowing conclude that performer's manipulation expands the instrument expressive possibilities
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Fundamentos Teoricos
Doutora em Música
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Vera, Fernand Toribio. "Selected Harpsichord Sonatas by Antonio Soler: Analysis and Transcription for Classical Guitar Duo." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9727/.
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Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.
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Roy, Alexandre. "Développement d'une plate-forme robotisée pour l'étude des instruments de musique à cordes pincées." Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066540/document.
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L'étude mécanique des instruments de musique met en oeuvre l'étude des musiciens, des instruments et de l'interaction complexe qui existe entre eux. L'analyse du geste musical nécessite de nombreuses mesures sur des musiciens pour en extraire les paramètres pertinents qui permettent de construire un modèle d'interaction musicien / instrument. Dans le cas des instruments à corde pincées, il s'agit de déterminer les conditions initiales imposées à la corde par le mécanisme de pincement contrôlé par le musicien (plectre, doigt). Comment obtenir tous ces paramètres sans perturber le jeu du musicien ? Comment vérifier qu'ils sont les seuls à déterminer la vibration future de la corde et lui donner sa signature acoustique ? Une plateforme expérimentale robotisée a été mise en place pour répondre à ces questions. Elle permet de reproduire le geste des musiciens, en particulier des harpistes et des clavecinistes. Il faut préciser ici que la notion de geste musical s'entend au sens large : le robot peut soit reproduire complètement la trajectoire suivie par le doigt du musicien, soit imposer les conditions initiales résultant de cette trajectoire, indépendamment du chemin suivi. Le premier cas est adapté à la résolution de problème de dynamique inverse pour accéder aux efforts articulaires mis en jeu par le musicien pendant l'accomplissement d'un extrait musical. La second cas sera privilégié pour imposer des conditions initiales à l'instrument, par l'intermédiaire de trajectoires d'études conçues spécifiquement par l'expérimentateur. La reproduction des trajectoires avec le robot nécessite de rejeter les perturbations introduites par le contact avec l'instrument. La conception d'un capteur d'effort intégré au robot a permis de satisfaire partiellement cette exigence. Après le détail de la conception de la plateforme robotisée, de sa validation comme un outil d'étude juste et répétable, un exemple d'utilisation est présenté dans le cadre d'une étude sur l'harmonisation des becs de clavecin. L'harmonisation est un processus complexe de réglage de l'instrument, réalisé par le luthier. Un modèle prenant en compte le toucher pendant l'interaction plectre / corde, et intégrant la géométrie du plectre résultant de l'harmonisation, ainsi que des expériences effectuées sur un clavecin, montrent que la forme du plectre affecte non seulement les conditions initiales de vibration des cordes de l'instrument mais aussi le ressenti du clavecinisteThe study of musical instruments involves the study of musicians, instruments and of the complex interaction that exists between them. The analysis of musical gestures requires numerous measurements on musicians to extract the relevant parameters in order to model their interaction. In the case of plucked string instruments, the goal is to determine the initial conditions imposed on the string by the plucking mechanism (plectrum, finger). How does one get all these parameters without disrupting the musician in playing conditions ? How can one know that the parameters are the best ones to describe the initial conditions of the string vibrations and its acoustic signature ? An experimental platform has been designed to answer these questions. It can reproduce the gesture of a musician, in particular of a harpist or a harpsichordist. It should be pointed out that the concept of a musical gesture is defined here in a broad sense : the robot can reproduce either the path followed by the musician's fingers, or the initial conditions resulting from this trajectory. The first method is particularly suited for the resolution of an inverse dynamic problem. One can then calculate the forces developed by the musician's muscles during the execution of a musical piece, for example. The second method is better suited for imposing specific initial conditions on the instrument through trajectories designed by the experimenter. The correct reproduction of the trajectories needs to reject disturbances due to the contact between the robot and the instrument. The design of a force sensor, integrated into the robot end effector, is a first step toward satisfying this requirement. After the design of the robotic platform, its precision and repeatability is investigated. The force sensor is then integrated on the robot end effector, and an example of its use is presented. The experiment is focused on the harmonization of the harpsichord plectra. Harmonization is a complex process of adjustments achieved by the luthier on the instrument. A model of the plectrum / string interaction, taking into account the geometry of the plectrum, as well as experiments performed on a real harpsichord, show that harmonization have an impact on the string initial conditions of vibration
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Gatti, Patricia 1961. "Cravo Caboclo : uma reflexão sobre o cravo e sua abordagem na música brasileira popular - dois estudos de caso." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285279.
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Orientador: Edmundo Pacheco HoraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente estudo propõe um olhar diferenciado sobre o cravo que busca ir além de sua identificação, do ponto de vista organológico e de repertório, exclusivamente com um projeto da música erudita europeia. A partir de uma reconstrução do percurso histórico do instrumento ¿ no que diz respeito aos seus aspectos construtivos, repertório ou na prática interpretativa ¿ traçam-se considerações sobre os vários debates estéticos acerca da sua adoção, a questão da autenticidade, que remete a critérios de fidelidade e legitimidade do instrumento e da sua flexibilização. Numa segunda linha de abordagem histórica do percurso do instrumento, busca-se refazer a trajetória da inserção do cravo no Brasil, com destaque em São Paulo e Campinas, a partir das referências do período colonial, das décadas de 1950 a 1970, até a formação do primeiro curso superior de cravo na Universidade Estadual de Campinas. Nesse trajeto desenhado interviram diversidade de concepções relacionadas a hábitos culturais e exigências de gostos musicais, conduzindo-se uma leitura menos restritiva dos usos do cravo ou "cravos". Dialogando com o panorama de diversidade de práticas musicais, evidencia-se a presença sutil, mas significativa do cravo em manifestações musicais modernas da cultura pop, tais como Rock, Jovem Guarda e Tropicalismo, entre outras. O estudo também aborda repertórios da atualidade, escrito para o cravo em linguagem da música brasileira de fonte popular. Por meio de dois estudos de caso, apresenta leitura analítica de peças escritas para dueto instrumental com cravo dos compositores: José Eduardo Gramani (1944-1998), que escreveu quarenta e sete peças para "cravo e rabeca", e Ricardo Matsuda (n. 1965), que compôs doze peças para "cravo e viola caipira". Buscou-se o referencial da Teoria das Tópicas, como ferramenta analítica proposta a partir do material musical usado, obtendo-se a caracterização do discurso musical para compreensão da musicalidade brasileira. O enfoque analítico orienta não só os leitores a compreenderem os mecanismos estruturais e traços significativos de peças selecionadas, mas também promovem uma possível escuta informada e um diálogo com dois autores que deixam registros musicais criativos e expressivos para o cravo, em sons com tempero e atmosfera de brasilidade
Abstract: The present study proposes a differentiated look at the harpsichord which seeks beyond its identification, from the organological and repertoire¿s viewpoint, solely with a European "soft music" project. From a reconstruction of the instrument¿s historical course ¿ regarding its constructive, repertoire and practice aspects ¿ considerations are traced about the many aesthetical debates over its adoption and authenticity, referring to accuracy and legitimacy criteria of the harpsichord and its pliancy. In a second historical approach to the instrument¿s course, the study aims to reconstruct the trajectory of its Brazilian insertion highlighting São Paulo and Campinas, from references from the Colonial period, of the 1950¿s to 70¿s, until the formation of the first higher education course in harpsichord at the Universidade Estadual de Campinas (State University of Campinas). Over that course of events, intervened a variety of conceptions related to cultural manners and demands of musical tastes, with a much less restrictive reading of the uses of harpsichord, or "harpsichords", being conducted. Dialoguing with the diverse panorama of musical practices, the study evidences the subtle, but significant presence of the harpsichord in modern pop culture music manifestations, such as Rock, Jovem Guarda, Tropicalismo, among others. It also approaches current repertoire written for harpsichord in the language of Brazilian popular-sourced music. Through two instance studies, it presents analytical readings of compositions for instrumental duets with harpsichord from composers José Eduardo Gramani (1944-1998), who wrote forty seven works for harpsichord and Brazilian fiddle, and Ricardo Matsuda (b. 1965), who composed twelve works for harpsichord and Brazilian ten-stringed guitar. The Topic Theory¿s referential was sought as the proposed analytical tool for the musical material utilized, obtaining the characterization of the musical speech as to comprehend Brazilian musicality. Such foci of analysis guide not only the readers as to comprehend the structural mechanisms and significant features of selected works, but also does promote an informed listening and a dialogue with the two authors, which leave creative and expressive musical records for the harpsichord, in sounds with particular Brazilian temper and atmosphere
Doutorado
Praticas Interpretativas
Doutora em Música
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PAVAN, Beatriz Carneiro. "O cravo na música de Câmera contemporânea brasileira." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2721.
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Previous issue date: 2009-03-30This work discusses the role of the harpsichord in Brazilian contemporary music particularly in chamber music. After a brief contextualization of harpsichord in Brazilian chamber music, the work develops in five main parts, namely: part 1 a description of the harpsichord since its origins in the monochord of Pythagoras until the models constructed in present time; part 2 the harpsichord s mechanism is presented in such a way as to elucidate the instrument performance possibilities; part 3 an analysis of idiomatic aspects of the instrument and their influence in interpretative and compositional decisions; part 4 the available repertoire and the process used to organize it including Brazilian solo and chamber music for the instrument. The works are organized by composer, date and medium; part 5 - analytical comments of selected works to be presented in the masters recital. The comments combine Jan La Rue s view with the idiomatic aspects discussed in the part 3 of this paper. The commentaries consider both compositional and performance possibilities. Aspects analyzed include form, instrumentation, level of difficulty, dynamics indication, registration, metric, fingering, use of expanded technique, performance notes and ad-libitum passages (or random elements). As a conclusion, it was possible to organize several Brazilian works for harpsichord in various compositional styles
Este trabalho discute a presença do cravo na música contemporânea brasileira, com enfoque em música de câmera. Após uma breve contextualização do cravo na música de câmera brasileira, o trabalho se desenvolve em cinco partes principais, a saber: parte 1 - apresenta um histórico do cravo desde suas origens, no monocórdio de Pitágoras, até os modelos construídos na atualidade; parte 2 - apresenta-se o mecanismo do cravo e seu funcionamento, como forma de elucidar as possibilidades de execução do instrumento; parte 3 - faz uma análise dos aspectos idiomáticos do instrumento e procura mostrar a influência destes em decisões interpretativas e composicionais; parte 4 - apresenta o repertório para cravo solista e camerista, organizado com indicação de compositor, data e formação para qual foi escrita, além do processo utilizado para sua coleta junto a compositores e acervos no Brasil. As obras coletadas são organizadas com indicação de compositor, data e formação para qual foi escrita; parte 5 comenta analiticamente as obras selecionadas para o recital de defesa sob uma combinação da ótica do teórico Jan La Rue com os aspectos idiomáticos apontados na parte 3. Os comentários consideraram recursos composicionais e possibilidades de performance. Neste sentido, observou-se forma, instrumentação, nível de dificuldade, indicação de dinâmica, indicação de registros, métrica definida, escolha de dedilhado, uso de técnica expandida, notas para o performer e uso de improviso e/ou elementos aleatórios. Ao final do trabalho, foi possível reunir número significativo de obras para cravo de variados estilos composicionais, inclusive com uso de técnicas expandidas
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Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.
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Patterson, Yumi Uchikoda. "French Accompanied Keyboard Music from Mondonville's Opus III to Mondonville's Opus V: The Birth of a Genre, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Back, F. Couperin, G. Frescobaldi, W.A. Mozart, C. Balbastre, D. Scarlatti, J.P. Rameau and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277662/.
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In mid-eighteenth-century France, a type of ensemble music was introduced for harpsichord and another instrument(s) in which the harpsichord part is completely written out, instead of a bass line with figures to be realized. Composers of this genre used the word "accompanied" in the tides or in the prefaces of their collections to describe the genre. This study examines the earliest examples of this genre, the works of seven composers, published in the 1740's, (Mondonville, Rameau, Boismoitier, Clement, Dupuits, Guillemain, and Luc Marchand), and compares the various styles of the written out parts, both harpsichord and additional instrument, to determine the nature of the word, "accompaniment."
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Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
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La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture de nos jours. Pour mémoire, cette mesure conditionne l’écartement entre le pouce et l’auriculaire, lequel écartement influence le jeu. Si l’écart est de moindre taille, les doigts sont plus rapprochés, et de ce fait, la main gagne en décontraction. Le jeu à la française se distingue aussi depuis ses origines par l’extrême souplesse de l’harmonisation, le peu de tension des cordes et le diapason bas (le La3 à 392 – 406 Hz). Par ailleurs, nous avons pu révéler l’existence de clavecins à trois claviers, la présence du seize pieds et du jeu nasal dans certains instruments (alsaciens notamment), et la paternité française de l’éclisse courbe en forme de « S ». Concernant les claviers, l’évolution de l’ambitus de l’instrument depuis le début du XVIIe jusqu’à la fin du XVIIIe siècle est bien connue des musicologues et des musiciens. Toutefois, aucune étude de cette évolution n’a été réalisée pour démontrer l’élargissement des claviers depuis le premier livre imprimé en 1670, les pièces de clavecin de Chambonnières, jusqu’à l’ambitus définitif des cinq octaves imposées dans les pièces de clavecin en concerts de Rameau en 1741. Notre étude s’est également étendue aux cordes, par la vérification de leur épaisseur et des matières dont elles étaient faites. Il s’avère que les facteurs de l’époque utilisaient des diamètres inférieurs à ceux des cordes actuelles, et qu’elles n’ont jamais été en cuivre dans les basses. Seul le laiton à forte teneur en cuivre était considéré comme satisfaisant pour la sonorité des cordes les plus graves. Quant aux cordes des trois cinquièmes supérieurs du clavier, elles étaient faites en fer mou qui n’avait qu’une faible tension. Il va sans dire que l’acier, employé de nos jours, était inconnu à cette époque. Enfin, il est admis aujourd’hui que le clavecin, une fois le tempérament posé, s’accorde en octaves pures, alors qu’il en était tout autrement au XVIIIe siècle, ainsi que nous l’avons établi à travers un texte de CorretteIs French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
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Morais, Guilherme de. "Realização de baixos em modinhas do "Jornal de modinhas com acompanhamento de cravo pelos milhores autores", editado por F. D. Milcent e P. A. Marchal - Lisboa, 1792-1797." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284087.
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Orientador: Helena JankDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente projeto tem como foco de trabalho um conjunto de modinhas encontradas no "Jornal de Modinhas com Acompanhamento de Cravo Pelos Milhores Autores" publicado por Domingos F. Milcent e P.A. Marchal, entre os anos 1792 e 1797 em Lisboa. A menção ao cravo no título da publicação leva-nos a uma reflexão sobre a utilização deste instrumento no acompanhamento das modinhas, que se caracteriza por uma linha de baixo, sem indicações para a mão direita, em um processo idêntico ao do baixo contínuo encontrado na música barroca. Neste projeto propomos a realização dos baixos de maneira a facilitar a execução das obras para os intérpretes que não dominam a arte de acompanhar improvisando sobre uma linha de baixo. A realização se dará a partir da análise destas características, com base em tratados de baixo contínuo, em especial aqueles escritos em Portugal no século XVIII. Será levada em consideração também a análise dos acompanhamentos previamente escritos para algumas modinhas nesta mesma coleção.
Abstract: This project focuses on a set of "modinhas" found in the " Jornal de Modinhas com Acompanhamento de Cravo Pelos Milhores Autores" published by Domingos Milcent and P.A. Marchal, between years 1792 and 1797 in Lisbon. The fact that the harpsichord is mentioned in the title of this publication leads us to think about the use of this instrument in the accompanyment of the "modinhas", which is characterized by a bass-line, with no indications for the right hand, in a process similar to that found in the thorough-bassaccompanyment in Baroque music. Our purpose to this project is the realization of the bassline to a choice of pieces, to facilitate the execution for interpreters not skilled in the art of improvising on a single bass-line. The realization of the basses will be the result of the analysis of the most important caracteristics, based on thorough-bass treatises, especially those published in Portugal in the eighteenth century. The analysis of previously written accompanyments for other "modinhas" found in this collection will also be considered.
Mestrado
Praticas Interpretativas
Mestre em Música
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"Two music compositions." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888414.
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by Elizabeth Tsang Yu Mei.Thesis (M.Mus.)--Chinese University of Hong Kong, 1995.
Content
Chapter 1. --- Prelude & Fugue for Harpsichord (1995)
Chapter i) --- programme notes
Chapter ii) --- music score --- p.6 pages
Chapter 2. --- Fantasia for Organ & Orchestra (1995)
Chapter i) --- programme notes
Chapter ii) --- music score --- p.65 pages
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"Selected Harpsichord Works by Sebastián de Albero, Arranged for Solo Guitar." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.26897.
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abstract: This project presents eight harpsichord sonatas, 3, 5, 10, 12, 13, 18, 19, and 21, by Sebastián de Albero (1722-1756), arranged for the classical guitar. These pieces were chosen because of the success of other eighteenth-century Iberian harpsichord music that has been arranged for guitar, including works by composers such as Domenico Scarlatti, Carlos Seixas, and Antonio Soler. The popularity and enjoyment of Scarlatti's harpsichord sonatas on the guitar today was the inspiration for this project.
Historically, guitarists have used arrangements as a means to expand the guitar's repertoire. The late eighteenth century, especially, was a time in which the instrument was undergoing significant changes from being a five-course instrument into becoming the standard six single string instrument of today. Also, composer/guitarists at that time were beginning to abandon tablature in favor of modern staff notation. Because of these changes, the amount of music originally written for the guitar from this period that is suitable to be played on a modern instrument is limited.
I chose to focus on eight selected sonatas from Sebastián Albero's Treinta Sonatas para Clavicordio because of the influence of Domenico Scarlatti's harpsichord arrangements for solo guitar. It is intriguing to note that Albero and Scarlatti both held positions at the Spanish Royal Chapel for a number of years and, in this capacity, may have influenced one another in their musical compositions and style. Certain similarities are documented in this paper.
Since Scarlatti's music has been successfully arranged, and is popular to play on modern guitar, it is hoped that these sonatas by Albero may enjoy similar success.Dissertation/Thesis
Doctoral Dissertation Music 2014
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"Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.55627.
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abstract: Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B.Dissertation/Thesis
Doctoral Dissertation Music 2019
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Wood, Jessica. "Keys to the Past: Building Harpsichords and Feeling History in the Postwar United States." Diss., 2010. http://hdl.handle.net/10161/2456.
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This dissertation traces the range of popular forms and practices associated with the harpsichord in the twentieth century in the United States, focusing on the 1950s, 60s and 70s. It draws on archives of period correspondence, sound recordings, and news clippings, as well as on my interviews with harpsichord builders and performers and on fieldwork I conducted at a prominent American harpsichord company during 2008. I argue that the harpsichord enabled practices and discourses through which the white middle class could critique the post-World War II United States, and that the material aspects of the harpsichord--its sound, its wooden materials and its construction methods--provided a gauge by which to measure how far the postwar everyday had veered from what was imagined to be an "authentic" human existence.
I focus the dissertation around the influence of a particular narrative associated with the harpsichord: that of the aristocratic, delicate instrument decimated by the Industrial Revolution. I first chart the ways that this narrative circulated in academic histories and popular media during the twentieth century, and how it was linked to perceptions of the harpsichord's physical "shortcomings." Focusing on its career in 1940s-60s popular music recordings, I then show how the stereotype of its "tragically disadvantaged" sound shaped acoustic and discursive constructions of that sound. I continue by demonstrating the classed critiques surrounding the instrument's commodification as a "do-it-yourself" kit--an affordable product that seemed to contradict the instrument's history as an elite, custom-made object. Lastly, I show how the harpsichord's story articulated with the biographies and sentiments of specific people, particularly those affiliated with the shop of Massachusetts harpsichord builder Frank Hubbard in late 1960s and early 1970s. Ultimately, I argue that the Movement's ideal of "historical authenticity," along with the post-World War II mass appeal of period instruments and period performance practice, emerged out of time and place-specific meanings, and through multiple social and commodity networks.
Dissertation
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"MUSIKALISCHER PARNASSUS by Johann Kaspar Ferdinand Fischer (1656-1746): Guitar Transcription and Performance Guide of Suites VI and VIII." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.21009.
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abstract: Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.Dissertation/Thesis
it is the appendix for the dissertation
D.M.A. Music 2013
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Muller, Stephanus. "An interpretative analysis of the Capriccio in B flat major, BWV 992, by J.S. Bach, with specific reference to comparative interpretations on the clavichord, harpsichord and piano." Diss., 1997. http://hdl.handle.net/10500/17540.
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The hypothesis of this study entails the formulation of interpretative solutions for J. S.
Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title,
strives to provide a synthesis in which the cognitive understanding of the music can
contribute to a more informed aesthetic interpretation of the music. In the ensuing study
this objective is realised by examining the origin of the work and the sources from which it
was handed down, the style in which the Capriccio was composed and conceived, the
performance practices prevalent in the early eighteenth century and the applicability thereof
to the music of J. S. Bach, the structure of the Capriccio, and lastly the different
instruments on which the Capriccio can be performed and the impact which this choice has
on any performance thereof.Department of Musicology
M.Mus.
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"Chaconnes and passacaglias in the keyboard music of François Couperin (1668-1733) and Johann Caspar Ferdinand Fischer (1665-1746)." Thesis, 2003. http://hdl.handle.net/2152/838.
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Park, Misung 1968. "Chaconnes and passacaglias in the keyboard music of François Couperin (1668-1733) and Johann Caspar Ferdinand Fischer (1665-1746)." 2003. http://hdl.handle.net/2152/12928.
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Ballam, David. "Doctoral thesis recital (double bass)." 2011. http://hdl.handle.net/2152/16697.
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