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Dissertations / Theses on the topic 'Henry Purcell'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

Kim, Hae-Jeong. "The Keyboard Suites of Matthew Locke and Henry Purcell." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501040/.

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This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.

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2

Simon, Laurent. "L’œuvre vocale sacrée de Henry Purcell : à la recherche d’un équilibre." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040238.

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Le développement de la musique religieuse de Henry Purcell pendant la seconde moitié du dix-septième siècle est le fruit d’un compromis fructueux entre les contraintes politiques et religieuses de l’Angleterre de la Restauration et l’influence du baroque continental. L’évolution stylistique de ses compositions reflète la politique menée par les souverains successifs : Charles II, Jacques II et Guillaume d’Orange. Musicien baroque en pays anti-papiste, Purcell se montre particulièrement habile dans la manière de mettre les mots en musique et parvient à un équilibre entre l’exigence des réformateurs en matière d’intelligibilité du texte et l’esthétique de la contre-réforme
The development of Henry Purcell’s sacred music in the second half of the seventeenth century originates in a fruitful compromise between the political and religious constraints of Restoration England and the contribution of the continental baroque. The stylistic evolution of his religious compositions reflects the political and religious developments which took place during the successive reigns of Charles II, James II and William of Orange. As a baroque musician and a native of an anti-papist country, Purcell showed considerable skill in the art of setting words to music and managed to blend in the Reformers’ emphasis on the intelligibility of the text and Counter-Reformation aesthetics

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3

Grant, Wendy Lyn. "The court Odes of Henry Purcell, an evaluation of his style from 1680-1695." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0028/NQ36640.pdf.

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4

Holland, Elizabeth Jane Violet. "Purcell and the seventeenth-century voice : an investigation of singers and voice types in Henry Purcell's vocal music." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/5988/.

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This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenth century. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addresses the issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type. Chapter Two discusses the bass voice, in particular the influence of individual singers in creating voice-type subdivisions, and the dramatic and musical stereotyping of this voice type in Purcell's works. The third chapter takes as its subject Purcell's sopranos and trebles, focussing in detail on the individual singers in his works for the London stage, their vocal characteristics, dramatic stereotyping, and musical influence on the composer. Chapter Four uses the characteristics of each voice type identified in previous chapters to reassign the 'lost" voice types of Purcell's chamber songs and, in conjunction with research into actresses, literature and theatrical convention of the period, provides a first performance voice-type cast list for the opera Dido and Aeneas, as well as offering insight into the possible individuals for whom the work may have been intended. Finally, all the above information gathered is combined with knowledge of seventeenth-century singing techniques gleaned from contemporary sources and the work of modem day scholars to offer advice on the modem performance of Purcell's vocal works in a 'historically- informed' manner.

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5

Espinosa, Ricardo Javier. "An analysis and discussion of conducting performance practices in Steven Stucky's elaboration of Henry Purcell's Funeral music for Queen Mary (1992)." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930322951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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6

Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.

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7

Luczak, Jessica. "A survey of tragic love in vocal repertoire for the lyric soprano." Kansas State University, 2013. http://hdl.handle.net/2097/15676.

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Master of Music
Department of Music
Patricia Thompson
This report contains biographical, historical, and analytical commentary on the following composers and their pieces for soprano voice: Henry Purcell and The Blessed Virgin's Expostulation; Franz Schubert and Gesänge aus Wilhelm Meister, Op. 62, D. 877; Jacques Offenbach and Les oiseaux dans la charmille, from Les Contes d'Hoffmann; Libby Larsen and Try Me, Good King: Last Words of the Wives of Henry VIII; Charles Gounod and Ah! Je veux vivre, from Roméo et Juliette. These selections, unified by the theme of tragedy in various forms of love, were presented in a graduate recital in partial fulfillment of the requirements for the Master of Music in Vocal Performance and Pedagogy degree.

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8

Muller, Julia Purcell Henry Betterton Thomas. "Producing the prophetess, or, The history of Dioclesian academisch proefschrift ... /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/25762832.html.

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Thesis--Vrije Universiteit te Amsterdam, 1989.
Contains the libretto by Thomas Betterton for Purcell's opera adapted from John Fletcher's play. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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9

Labelle, Paul. "A Theatre of Catches – Dialogue, Theatre and Ritual in the Restoration Catch." 2020. https://slub.qucosa.de/id/qucosa%3A73213.

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10

Chelf, Linda Carol. "The restoration anthems of Henry Purcell and their political implications during the reign of Charles II (England)." Thesis, 1989. http://hdl.handle.net/1911/13350.

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Although the English anthem was the primary form of sacred composition in England during the Renaissance and early Baroque, it was not considered too sacred to be used as royalist propaganda. Text sources for the anthem came primarily from the Psalms, the Book of Common Prayer, and Scripture. Because many of the anthem composers were Gentlemen of the Chapel Royal, which was supported by the monarchy, the anthems sometimes reflected royalist views. Henry Purcell began writing anthems during the public hysteria generated by the Popish Plot, war with the Dutch, and fear of the French and the papacy. Although direct connections between specific events and specific anthems are speculative, there can be little doubt that the upheavals faced by the English monarchy influenced Purcell's compositions. Fourteen of Purcell's anthems written between 1678 and 1685 are discussed according to their political implications. Musical analysis of four representative anthems is provided.

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11

McArthur, Beverly Joan. "Role of Dido in Henry Purcell’s Dido and Aeneas." Thesis, 2002. http://hdl.handle.net/2429/12141.

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This thesis is comprised of the role of Dido from Henry Purcell's Dido and Aeneas. Dido is the opera's tragic heroine, the Queen of Carthage who falls in love with Aeneas, a Trojan Prince. The role of Dido may be played by a Soprano, however it strongly suits the colour of the Mezzo-Soprano voice. Dido also requires a singer with the ability to gain sympathy from the audience while at the same time retaining her stature as ruler and founder of Carthage. The Sorceress, a character who can be portrayed as Dido's foil, conspires against the lovers. She orchestrates the downfall of Dido and Aeneas and ultimately pushes Dido to the decision to take her own life.

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12

Park, Jinny Ji Young. "Role of Belinda in Henry Purcell’s Dido and Aeneas." Thesis, 2002. http://hdl.handle.net/2429/12182.

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13

Norman, Katie L. "Henry Purcell's The fairy queen adaptation as response to critical anxiety /." 2008. http://purl.galileo.usg.edu/uga%5Fetd/norman%5Fkatie%5Fl%5F200805%5Fma.

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14

Lin, Wen-hsun, and 林文絢. "A Study on the Musical Style in Henry Purcell’s Opera Dido and Aeneas." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/z2d3kd.

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碩士
國立臺北藝術大學
音樂學研究所
101
During the 17th century, the Italian and French Opera flourished successfully throughout Europe. Although the English Musical Drama was also influenced by them, the spoken play with many songs, dances and stage machines was still the mainstream type of musical drama in England. Under the circumstances, there were few all-sung operas in the 17th century England. Dido and Aeneas, composed by Henry Purcell, was one of them and also the only all-sung opera among Purcell’s works. In Dido and Aeneas, Purcell combined the elements of English music with Italian and French ones. This work reflected exactly the trends of musical style in the late 17th century England.Therefore, this paper focuses on analyzing the musical style in Dido and Aeneas and comparing the characteristics of the English music with Italian and French one, to show how the music of Dido and Aeneas was influenced by other countries and retained its own English traits simultaneously.

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15

Catana, Elio Patrick. "Roles of Betto in Giacomo Puccini's Gianni Schicchi and Aeneas in Henry Purcell's Dido and Aeneas." Thesis, 2002. http://hdl.handle.net/2429/12037.

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This thesis submission includes two very different roles for consideration as my thesis role. They include the role of Betto from Giacomo Puccini's "Gianni Schicchi" an opera based on a portion of Dante's Inferno and Aeneas from Henry Purcell's "Dido and Aeneas" derived from Virgil's The Aeneid. The performances for these one-act operas took place live at The Chan Centre for the Performing Arts between the dates of March 7- 10, 2002. The role of Betto may be considered as the comic role portion of my thesis. In the setting of the opera, he is the poorest of the relations to Buoso Donati who from the top of the show has just died. Betto has arrived to his house for the reading of the will in the hopes of having been left something of value only to find out that he has been left nothing at all. In an attempt to recreate the will in front of a notary, Betto teams up with the other relatives and Gianni Schicchi in their plot for revenge. During the entire performance, Betto leaves nothing to chance and quickly begins to take for himself anything that will fit in his pockets. In the end, when Gianni Schicchi outwits all the relatives, Betto and his relations make off with whatever they can carry as they are thrown out of Buoso's house, which has now become the property of Gianni Schicchi. In contrast, the role of Aeneas is that of the god-like hero who in his devotion to the Empire and the trickery of the evil Sorceress abandons his lover who kills herself in the name of love. Dido, the Queen of Carthage and Aeneas , a warrior are in love and have only just been reunited after Aeneas' return from battle when the evil Sorceress , played by Jeanine Fynn, devises a plan to destroy their relationship, the empire and the Queen's heart. This tragic one-act opera serves as the perfect juxtaposition to Betto and makes up the second component to my combined thesis submission.

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16

Fynn, Jeanine Rosanne. "Roles of Zita in Giacomo Puccini's Gianni Schicchi and the Sorceress in Henry Purcell's Dido and Aeneas." Thesis, 2002. http://hdl.handle.net/2429/12023.

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My thesis is the performance of two operatic roles: Zita in Giacomo Puccini's Gianni Schicchi, performed on March 7 and 9, 2002, and the Sorceress in Henry Purcell's Dido and Aeneas, performed on March 8 and 10, 2002. Gianni Schicchi is derived from a section of Dante's Inferno, dealing with the death of Buoso Donati and the greed of his surviving relatives. Zita is cousin to Buoso and aunt to Rinuccio, one of the lovers. She is part of the family ensemble, which is onstage for almost the entire opera - a very unusual occurrence in opera. After Buoso's death, Zita becomes the commandatore of the family, a comic mezzo-soprano character role that remains bitter and greedy until she and the family are chased offstage. Dido and Aeneas is based on Virgil's The Aeneid, and deals with Dido, the queen of Carthage, in her relationship with, and loss of, Aeneas. The Sorceress, an evil mezzosoprano role, who carries herself as if she were queen, plots disaster for both Dido and her lover, and oversees the queen's subsequent death. I am entering both roles combined as my thesis because they were performed in the same run of a double bill with the UBC Opera Ensemble. The two roles differ in character and musical style, creating a nice juxtaposition for my thesis.

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