Relevant bibliographies by topics / Hotteterre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hotteterre'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Hotteterre"

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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (1996): 225–63. http://dx.doi.org/10.2307/831990.

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Three instruments attributed to "Hotteterre" are considered the earliest baroque flutes. But two of these, once in the collection of César Charles Snoeck, prove to be copies, made at different times in the nineteenth century in La Couture-Boussey, Normandy. These, and other replicas made for the Brussels Conservatory and Dayton C. Miller collections, have fostered the growing myth of the "Hotteterre flute." Recently discovered flutes by Richard Haka and others argue against the presumption that the baroque flute was a sudden invention. New and wider studies of seventeenth-century woodwind instruments throughout Europe are beginning to indicate that the flute underwent a process of change far more complex than previously thought.
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Powell, Ardal. "The Hotteterre Flute: Six Replicas in Search of a Myth." Journal of the American Musicological Society 49, no. 2 (July 1996): 225–37. http://dx.doi.org/10.1525/jams.1996.49.2.03a00020.

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Laszewski, Ronald M., and Ardal Powell. "On "The Hotteterre Flute: Six Replicas in Search of a Myth" by Ardal Powell, Summer 1996." Journal of the American Musicological Society 50, no. 1 (April 1997): 228–38. http://dx.doi.org/10.1525/jams.1997.50.1.03a00140.

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Giannini, T. "Jacques Hotteterre le Romain and his father, Martin : A re-examination based on recently found documents." Early Music XXI, no. 3 (August 1, 1993): 377–96. http://dx.doi.org/10.1093/em/xxi.3.377.

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Laszewski, Ronald M., and Ardal Powell. "On "The Hotteterre Flute: Six Replicas in Search of a Myth" by Ardal Powell, Summer 1996." Journal of the American Musicological Society 50, no. 1 (1997): 228–38. http://dx.doi.org/10.2307/832073.

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Yermak, I. "Treatise by Aman Vanderhagen “Nouvelle méthode de flute” as a reflection of the performing arts of France in the second half of the 18th century." Musical art in the educological discourse, no. 3 (2018): 80–88. http://dx.doi.org/10.28925/2518-766x.2018.3.8088.

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For adequate reading of ancient musical texts, it is necessary to study the historical and cultural context and the specifics of the performing practice of that time when musical work has been written. It becomes possible when we study the treatises of past centuries, in which the main issues of musical theory and practice, technique and style are considered.No flute treatise has yet been translated into Ukrainian. Works by S. Ganassi, J.-M. Hotteterre, J. J. Quantz and J. G. Tromlitz are available in Russian. However, there are still about two hundred untranslated methodological treatises of the 18th century which contain important information about the performing arts of the era. The need for their study causes the topicality of this article.The article presents the results of the study of the treatise “Nouvelle méthode de flute” (1798) by Aman Vanderhagen, which includes number of valuable guidelines about posture, performance breathing, correct phrasing and ways of correction of the unstable notes on a one-keyed flute. The variety of strokes given in the treatise is a vivid example of the performing traditions of classicism.For the solution of the study tasks it is used historical, source-study, textual, analytical and performance methods. The conclusion is that the «Nouvelle méthode de flute» is an important source of information about peculiarities of performing on wind instruments in the second half of the 18th century and is recommended for the study of modern musicians and music historians.
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Dissertations / Theses on the topic "Hotteterre"

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House, Delpha LeAnn. "Jacques Hotteterre le Romain : a study of his life and compositional style /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103866c.

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Pereira, Renata. "Gosto ou licença? Como interpretar as Suite Sonates de Jacques Martin Hotteterre - Le Romain através da flauta doce." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05112014-111209/.

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A pesquisa para a elaboração da tese \"Gosto ou Licença? Como interpretar as suite sonates de Jacques Martin Hotteterre - Le Romain (1674-1763) através da flauta doce\" teve por finalidade investigar se a forma híbrida da música instrumental europeia - suite sonate [suitte sonate] do compositor francês setecentista - foi um exemplo precursor do gênero que conhecemos como gostos reunidos. Os objetos estudados são de fundamental importância, pois no século XVIII fomentaram a criação de um novo estilo musical nacional, o estilo alemão. Para tal contextualização, foi necessária a busca pelos significados dos termos \'gosto\', \'gênio\', \'maneira\', \'estilo\' e \'licença\', relacionados ao conceito de imitação da natureza nas artes setecentistas através da fundamentação teórica de Charles Batteux (1713-1780), apresentando neste texto uma teoria do percurso do termo \'gosto\'. Essa transformação do termo \'gosto\' está presente tanto no âmbito da criação da obra quanto no da execução - interpretação da prática musical do período barroco. Por essa razão, esse texto avalia os elementos cabíveis a uma interpretação atual de um texto musical setecentista. Dessa forma, além dos conceitos teóricos e práticos, será possível conhecer também a grande contribuição do flautista e compositor francês para a sua arte, como sua preocupação didática em seu tratado, em seu manual, além de seu cuidado não usual de prover informações de execução em suas partituras; sua expressiva e repleta de licenças música de câmara; sua inventividade na reunião de dois estilos musicais setecentistas; e sua responsabilidade nas mudanças da técnica flautística da época.
The research for writing this dissertation, titled \"Taste and Licence? How to interpret the Jacques Martin Hotteterre - Le Romain (1674-1763) sonates on the recorder\", was meant to investigate whether a hybrid European instrumental music form - suite sonate [suitte sonate] by the eighteenth century composer - was a forerunner example of the genre we know as Reunited Styles. The objects studied herein have great importance, because they promoted a new musical style created in the eighteenth century, the German style. For such context, it was necessary to investigate the meanings of terms such as \'taste\', \'genius\', \'manner\', \'style\', and \'license\', related to the seventeenth century arts\' concept of imitation of nature, as per the theoretical fundaments by Charles Batteux (1713-1780). A theory about the course of the term \'taste\' is presented in this dissertation. Such transformation of that term can be found both in the creation of the musical work and in its execution - baroque music historically informed performance. For the aforementioned reasons, this dissertation assesses the appropriate elements necessary for a contemporary interpretation of an eighteenth century musical text. Thus, besides the theoretical and practical concepts, it will be possible to know the French composer and flautist\'s greatest contribution to his art: the didactic concerns in his treatise, in his practical guide, as well as having the unusual care to provide performance information in his scores; his chamber music, so expressive and filled with licenses; his resourcefulness when uniting two eighteenth century musical styles and his part in the flute technique changes in that time
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Pereira, Renata. "Flauta doce e a arte de preludiar: tradução comentada do tratado L\'Art de Preluder (1719) de Jacques Martin Hotteterre - Le Romain." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-27102010-141600/.

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Esta dissertação consiste na tradução comentada do tratado L\'Art de Preluder de Jacques Martin Hotteterre - Le Romain (1674-1763), publicado em Paris em 1719. Este trabalho teve como objetivo ampliar a literatura em língua portuguesa para a flauta doce, tornando-o acessível aos estudantes de música e principalmente aos instrumentistas de sopro que se preocupam com uma performance historicamente orientada. Para tanto, foram estudados termos importantes que circundam a Arte de Preludiar de Hotteterre de acordo com as fontes primárias, como os dicionários setecentistas de Furetière e Brossard, e fontes secundárias, como o dicionário de Benoit. A pesquisa de termos indicou a dimensão retórica de diversos conceitos utilizados no tratado, tais como arte, engenho, capricho, princípios, método etc. Além da pesquisa de elementos gerais pertencentes ao estilo barroco francês, uma biografia do instrumentista e compositor, a relação de suas obras e, ainda, o resgate do significado setecentista do gênero musical \"prelúdio\", são partes integrantes deste trabalho. Este trabalho mostra que a técnica de improvisação apresentada por Hotteterre é baseada em práticas francesas e italianas. Esse fato permitiu conhecer uma nova dimensão da influência italiana na música francesa do início do Setecentos.
This work is a commented translation of the treaty L\'Art de Preluder by Jacques Martin Hotteterre Le Romain (1674-1783), published in Paris in 1719. The purpose of this work is to extend the recorder references in Portuguese language, making it accessible to music students and wind musicians that care about historical performance. For that, all-important terms that were used in the treaty were studied with the primary sources, like Brossard and Furetières eighteenth dictionaries, and with secondary sources, like the Benoit Dictionary. This research of terms points to a rhetorical dimension of various terms used in the treated, like art, wit (ingenium), caprice, principles, method, etc. Beyond the research of French styles general elements, a musician composers biography, his works list, and so the eighteenth means of the prelude musical genre, are part of this work. The research points that Hotteterres improvisation technique is based in Italian and French practices. This fact allowed to know a new dimension of the Italian influence in the French early eighteenth century music.
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Torres, Erin Helgeson. "Flute Articulation Pedagogy: The Effect of Language-Specific Consonant Pronunciation on a Flutist’s Articulation within the French and English Languages." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398069.

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Kuo, Hsin-Yu, and 郭星妤. "An Analysis and Interpretationof Hotteterre''s Suite in E Minor Op. 5 No. 2." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/92763960235055118331.

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碩士
台南應用科技大學
音樂系碩士班
103
The main purpose of this paper is to study the style and interpretation of Jacques Martin Hotteterre’s 〝Hotteterre suite in e minor No. 2, Op. 5〞. This piece is total comprised of 7 movements including Prelude, Allemande, Sarabande, Minuet, Gavotte, Rondeau, and Gigue, which all have very different characteristics and features. This paper is divided into 4 chapters. The first chapter describes the purpose and method of this study. The second chapter is the investigation of Baroque ornamentation. The difference uses of ornamentation were studied from the views of the School Italian and School French. In addition, the different types and playing methods of the frequently used French ornamentation were introduced. The third chapter is focused on the analysis of 〝Hotteterre suite in e minor No. 2, Op. 5〞, in terms of form and tonality, as well as the biography of Jacques Martin Hotteterre. The final chapter is the conclusion and reference. This study is aimed to analyze and interpret the uniqueness and the music language that expressed in the suite in e minor No. 2, Op. 5.
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Semerádová, Jana. "Principes de la Flute J.-M. Hotteterra ve světle dobové interpretační praxe." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-281424.

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The aim of this work is the translation with commentary of the method by Jacques- Martin Hotteterre Principes de la Flte Traversire ou Flte d'Allemagne, de la Flte Bec ou Flte Douce et du Haut-Bois (Principles of the Flute, Recorder and Oboe) with special emphazis on the historical performance practice and ornamention. It is the first method for transverse flute pro příčnou flétnu, which became one of the most favorable instruments in France in the begining of the 18th century. The translation, which comes out from the first print of 1707 at Christophe Ballard in Paris, maintains the structure of the text and uses preferentially Czech terminology, which, however, lacks the established terms in this field. In a case of non-existing Czech equivalent, the French term is being retained. Not only because of its primacy belongs Hotteterre's treatise to the most important methods for the transverse flute. It is also the basic source for the informations about the period woodwind instruments and wittnesses perfomance practice in France at the turn of 17th and 18th century. The numerous reprints and translations confirms that this method was very much in demand and use, and till the appearance of the Quantz's On the playing the Flute, was considerd as the most significant method for the flute.
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Pérsico, Gabriel. "La música poética en la ejecución historicista contemporánea." Doctoral thesis, 2019. http://hdl.handle.net/11086/14985.

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el proyecto de investigación propuso como hipótesis responder a las siguientes preguntas: ¿es posible configurar un análisis retórico-musical suficientemente sistemático para abordar el repertorio anterior al clasicismo? este análisis basado en las premisas de la musica poetica, además de posibilitar una mejor compresión de dicho repertorio ¿admite una hermenéutica no normativa en función de una praxis interpretativa? ¿puede el análisis retórico-musical ser útil para la interpretación actual del repertorio histórico, inserto en la complejidad de la praxis musical actual? la hipótesis presupuso además que un análisis retórico-musical basado en la disciplina de la musica poetica se muestra lo suficientemente sistemático si al aplicarlo a un corpus considerable de repertorio presenta resultados significativos. este análisis se realizó no sólo como una descripción válida de una construcción cerrada sino como una aplicación de herramientas que permiten flexibilizar las normas y requerimientos que la interpretación de un determinado género o estilo prescribe. su objetivo final es el proceso de ejecución en tiempo real y la comunicación con el oyente. consideramos que este enfoque analítico aporta al intérprete de repertorios históricos recursos para operar en el complejo marco de la praxis musical actual. lo aleja así de la función meramente reproductiva y mediadora entre compositor y oyente que conlleva la concepción idealista decimonónica de la música y lo acerca a otros géneros como los de las diversas manifestaciones de la música popular. luego de plantear un marco socio-histórico para definir el perfil del instrumento y el repertorio paradigmático elegido, la investigación recorrió las secciones en la que se divide la disciplina retórica (inventio, dispositio, elocutio, memoria y pronuntiatio/actio) elaborando herramientas analíticas para estudiar la música propuesta. el estudio se realizó basado en premisas extraídas de fuentes primarias y secundarias. los resultados de la investigación se aplicaron entonces a un estudio de caso en el último capítulo.
fil: pérsico, gabriel. universidad nacional de córdoba. facultad de artes. doctorado; argentina.
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CHENG, CHING-CHIH, and 鄭淨之. "The Analysis and Interpretation of Jacques-Martin Hotteterre’s Suite in D Major, Op. 2, No. 1." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/umyk43.

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碩士
國立臺中教育大學
音樂學系碩士班
107
The purpose of this thesis is to present a formal analysis and musical interpretation of the French Baroque composer Jacques-Martin Hotteterre’ s “Suite in D Major, Op. 2, No. 1.” Hotteterre was a virtuosic woodwind performer and an outstanding composer born from an influential family of wind instrument makers. This suite, written in 1708, consists of seven dances in the same key and all the dances are in binary form. Based on Hotteterre’s treatise, “Principes de la flûte traversière,” aims to study the Baroque flute performance practice, including tonguing, articulation and ornaments in order to properly interpret and understand this suite. The thesis firstly introduces Hotteterre’s life and the background of his works. A brief history of the flute construction and performing techniques in Baroque period are included. The formal musical analysis and the interpretation of this suite are also provided. Through the understanding of the notes inégales and the style of Baroque music, the author provides suggestions on performing French Baroque music. Finally, the intention of this study is not only offers more information about French composer Hotteterre and his compositions, but also enriches the research of the French Baroque flute music.
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廖怡貞. "The Analysis and Interpretation of Baroque Flute Suite Jacques-Martin Hotteterre’s Troisiéme Suite in G Major, Op. 2." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/52341293509414974637.

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碩士
國立嘉義大學
音樂學系
101
In Baroque era, instrumental music grown up and creative works increased, during the splendid time, many compositions began to show fantastic techniques. In order to meet the requirement of compositions, instrumental fabrication of winds was improved, especially for woodwind. The one-keyed flute was born under the fabrication of Hotteterre family who were famous for instrumental fabrication in France. Jacques-Martin Hotteterre ( 1674-1763 ), a member of Hotteterre family, delivered Principes de la Flûte Traversière in 1707, the treatise was the first of its kind and remained an important source of information on tonguing and ornamentation. His publication of suites for flute in 1708 further contributed to the elucidation of flute performance. During the Baroque period, unique composition methods and musical styles of genres were developed, and the suite was at the top of its form among them. Due to the differences in style between movements, the transformation interpretation became important. Nowadays, the Baroque music has its own interpretation of performance, more and more instrumentation are examined and recorded. Some musicians even use ancient instrument and methods to reproduce the contemporary music. Owing to the importance of the Baroque music and the characteristics of suites, and the impact from Hotteterre on flute performance instruction and construction evolution, this study applies documentary analysis to investigate not only Hotteterre’s entire life and his works, but also the evolution of dance music and suites. On the other hand, the music style and performance interpretation of movements in Jacques-Martin Hotteterre’s Troisiéme Suite in G Major, Op. 2 is understood by musical form analysis. In this study, reference documents about Hotteterre are recorded, and it helps performers to interpret the Baroque and Hotteterre’s works. Keywords: Hotteterre, Flute, Baroque, Suite, Dance music
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Meyerhöfer, Dietrich. "Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler." Doctoral thesis, 2020. http://hdl.handle.net/21.11130/00-1735-0000-0005-13B0-E.

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Books on the topic "Hotteterre"

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Romain, Jacques Hotteterre Le. Hotteterre - Trio Sonata C Major Op. 3 No. 5 for 2 Treble (Alto) Recorders and Basso Continuo. Dowani, 2006.

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Book chapters on the topic "Hotteterre"

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Fontaine, Joachim. "Jacques Martin Hotteterre ›Le Romain‹." In Barockmusikführer, 232–36. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_55.

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Lerch, Thomas. "Die Traversflöte von Jean Hotteterre — Original oder Fälschung?" In Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz, 270–81. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02821-1_14.

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