Dissertations / Theses on the topic 'Late Baroque'

The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.

In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.

Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.

Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait subject and her instrument creates and is created by complex relationships ingrained by the dominant patriarchal structures that circumscribed women's lives at the time. To realize these interpretive goals, I have chosen two paintings that are less often discussed in art historical and musicological literature: the self-portrait attributed to Marietta Robusti, and St. Cecilia Playing the Keyboard in the style of Artemisia Gentileschi.

My dissertation is about forms of locally-based piety, especially religious devotion within the population of eighteenth-century Spanish descendants in Monterrey, Mexico. This study takes the reader through the structure of the colonial last will and testament, identifying its principle parts, analyzing its formulaic language, and discerning ways to hear the voice of its testator. Reineros, or colonial residents of Monterrey, entrusted scribes to write their wills in order to care for their souls in the afterlife and bequeath their possessions to family members, friends, and the church. Testators demonstrate their piety by issuing directives concerning their burials and funerals and making pious bequests to benefit church adornment, chapels, charities, and devotions to images. I identify trends in piety over time and offer a proposal for understanding the context of these variations. I propose that Monterrey’s distance from other urban centers made it a distinctive frontier town in northeast Mexico, where a baroque-infused piety dominated local religious practices even after the creation of the diocese in 1777. However, I demonstrate that late eighteenth-century and early nineteenth-century testators, although still concerned for their individual souls, requested fewer masses for the dead to benefit their souls and the souls of others, made fewer charitable gifts, and disregarded showy funerals for the sake of humility. What emerges, then, is a blend of baroque practices and pious reforms. “En el Nombre de Dios” is a case study about the staying power of traditions and the enduring flexibility of religion.

Among the numerous eighteenth-century composers of merit whose music remains virtually unknown and unavailable in modern editions, and whose names are absent from the many items of Baroque literature to date, is Andrea Zani (b. Casalmaggiore, 1696-d. Casalmaggiore, 1757). Yet his skill saw him ranked as a virtuoso, and his compositions were published in Vienna, Paris and Amsterdam, as well as his native Italy. Despite the fact that most of his output is extant and accessible either in manuscripts or early prints in the archives of Europe, the United States of America and the United Kingdom, no thorough study of these works has been made. The scant biographical information available on Zani lies in a succession of brief and lamentably incomplete accounts, traceable to one early nineteenth-century writing. A comprehensive study of Andrea Zani and his music has yet to be made. The objectives (and thus the structure) of this dissertation are to present a definitive performing edition of Zani’s entire output and to compile a biographical account that will substantially augment and correct much of the biographical information that is available. These objectives are interdependent. A biography may be illuminated by information found in music sources – dates of compositions or dates and places of publications, names of dedicatees (and even of specific occasions) are all indicators of avenues of research, and as this is undertaken, isolated facts gradually turn into an expanding and yet increasingly tightly-knit network of detail. The music itself may be illuminated by confirming its location within the lifetime of the composer and a growing understanding of the various circumstances surrounding the years in which it was written. When this is allied with a knowledge of the dissemination of his compositions, one is led toward a contemporary estimation of the composer and a measure of the sphere of his influence. One further element of this research is a thematic catalogue of Zani’s works. As a comprehensive description of his output, it provides a stand-alone reference volume for future studies of the man and/or his compositions. More widely, it will assist with the solution of problems of misattributions of compositions among Zani's contemporaries.

The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.

The great cabin of the warship Vasa was adorned as a palace like room rather than aships cabin, containing over seventy wooden sculptures. The herm pilasters andconsole heads possibly held symbolic meaning, as did the exterior sculptures of theship. Why was so much money spent on the cabin? Who was its intended audience?How was the great cabin decorated and why? A study of the archaeological remainswithin their wider maritime and decorative historical context, can give the reasons for the designing and building of this highly decorative and expensive cabin.

Theater
M.F.A.
This thesis examines, details, and evaluates the process used while executing the costume design for Temple University's 2013 production of The Liar by David Ives. I will discuss each part of the design process from pre to post production and reflect on the process and choices made.
Temple University--Theses

Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.

碩士
東吳大學
音樂學系
95
The poly-choral style originated from Venetian school in the 16th century is an important style of development of instrumental music which has affected the Baroque period and the period after Baroque. During the second half of sixteenth-century, the form of double chorus singing has developed to the form of multi- choruses, and the form of multi-choruses accompanied with the instrumental music and the solo vocal music. Details about the poly-choral style, the main development place of Venetian school, and Saint Mark cathedral in the second half of sixteenth-century, from Claudio to Mondeverdi, would be the focus of this study (thesis). The thesis includes four chapters. The first chapter discusses the origin of poly-choral style, including historical background on the tradition of psalms singing. The second chapter focuses on Renaissance time at Venice, and discusses the politics, artistic, glass craft, mosaic art synopsis at that time. The third chapter discusses poly-choral music of Venetian school in the early times of 16th century, and main composers of Venetian school including: Andrian Willaert, Andrea Gabrieli, Giovanni Gabrieli, and Claudio Monteverdi in early time of Baroque period. The fourth chapter discusses poly-choral works, the effects of the acoustics “stereo sound”, questions of chorus establishment, textures, and questions of annotation and questions when conducting these pieces based on the discussion and summary from the previous three chapter.

This thesis is dealing with life and work of Anton Schmidt, the remarkable architect of czech late baroque period. The text focuses mainly on his sacral architecture, especially on St. Michael Archanděl in Smržovka, which represents the notable example of baroque dynamism in czech architecture of the second half of the 18th century. Anton Schmidt is recognized as very important figure of czech late baroque architecture. He followed the tradition of domestic high baroque epoque and the work of K. I. Dientzenhofer. But on the other hand, Schmidt introduced various motifs of neoclasicissm very early into czech milieu. Therefore the typical feature of his architecture is the synthesis of styles combined with refine architectural language. His most important works are - besides the church in Smržovka - church St. Bartoloměj in Černouček, Kounický palace in Prague- Malá Strana and castle in Zahrádky u České Lípy. This thesis brings also a new discovery of previously unknown Schmid's structure - church St. Jan Nepomucký na Poušti in Železný Brod.

碩士
樹德科技大學
應用設計研究所
103
Baroque means the international art style that spreads through the whole Europe during the late 16th and 17th centuries. Its splendid dramatic artistic style not only inspires designs of many fashionable products, but also becomes necessary important elements of studies on modern clothes art creation. The thesis studys the historic background and development of Baroque art through style charastics of clothes, paintings, and laces in Baroque time. It takes only the popular material of Barquoe time—laces as creation study, while the material is applied for designing masks with makeup. The study employs electrical scale and measuring cups to control the ratio of resin and water to proceed the study on the hardness of lace cloth. There are two kinds of experiment; one is to have 1, 2, 3, 4, and 5 grams of resin all tested with 10 grams distilled water, and the other is to have 10, 20, 30, 40, and 50 grams of distilled water all tested with 1 gram of resin. According to the characteristics of Baroque time, makeups utilize glorious clothes colors as reference of analysis of creations of makeup colors, and Baroque combination of dramatic, energetic, and grand elements as extensive design of changes on light and shade. After experiments, the ratios of 1, 3, and 5 grams of resin all go with 10 grams of distilled water are chosen to demonstrate the hardness of lace and the three-dementional effects on masks by three works under different scaled resin. There six kinds of lace creation with Baroque art: Fabulous, Refreshing, Flowery, Crystal, Golden, and Extending, applied on lace creation on masks with makeup. The aim is to be able to experiment the hardness of lace, and perform the correct ratio in teaching or thesis making, instead of perfoming the ratio at personal will.

Tese de doutoramento em Literatura de Língua Portuguesa, apresentada ao Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra.
RESUMO Com o objetivo de revisitar o séc. XVIII no âmbito da historiografia literária através da obra de Francisco de Pina e Melo, este estudo entronca em dois marcos de análise a que se associam duas facetas distintas do autor: o poeta e o teorizador da literatura. De um lado, propõe-se o estudo da sobrevivência do legado barroco na sua mais significativa obra de poesia (As Rimas, 1726); do outro, o estudo do campo da doutrinação estética, em que assume relevo o diálogo com os modernos comentadores europeus da Poética e, na sua esteira, os críticos e intelectuais portugueses de meados de Setecentos. No intuito de questionar uma leitura sequencial da evolução das correntes estéticas, determinante na projeção de uma ideia de rutura no trânsito da cultura barroca para a da Ilustração (Mendes dos Remédios, Hernâni Cidade, Saraiva e Lopes, etc.), conferimos especial atenção à formação de paradigmas estéticos e de pensamento crítico no âmbito das academias literárias do séc. XVIII, assinalando o debate entre antigos e modernos espelhado na evolução das diferentes perspetivas que em certo momento se sobrepõem. Como tal, afigurou-se-nos relevante indagar acerca da associação do poeta montemorense com a forma mentis do novator. Em que argumentos se funda a reação anti-barroca que configura uma inovação no campo literário de meados do séc. XVIII, e de que modo esta é recebida pelos conservadores da velha ordem barroca estabelecida? Como se configuram a poesia e pensamento estético de Pina e Melo no seio do confronto entre códigos fundados sobre noções de estilo divergentes e, simultaneamente, diferentes conceções da herança clássica. De que modo o poeta responde, teoricamente, ao “novo gosto” neoclássico, e como procura adaptar a “simplicidade francesa” e os modelos do arcadismo na sua prática poética? Qual é o resultado desse esforço conciliatório, que coloca no centro das querelas da Ilustração dois tipos de conceção estrutural do poema épico, um assente na alegorese e varietas barroca, e outro fundado nos princípios aristotélicos de verosimilhança e unidade? Nas reações de Melo aos diferentes julgamentos dirigidos às suas obras, é possível delinear a formação de uma consciência autoral, paralela da caracterização que o poeta faz do seu próprio estilo literário, num contexto em que o receio de difamação pessoal surge especialmente em relevo e determina uma idealização tanto do poeta como do crítico. Analisaremos, neste domínio, também a emergência de diferentes tipos de crítica e de público. O estudo do livro d’As Rimas I, II e III permite-nos, por sua vez, entender especificidades do código barroco de influência gongórica em Portugal. Veremos como o tenebrismo fúnebre e a melancolia “negra” na lírica de Melo, a par de outros elementos estruturais, evidenciam a presença de um subjetivismo que surge associado à construção e projeção de uma imagem autoral marcada. À luz da poesia de Pina e Melo, pode dizer-se que a ênfase dada ao “estilo” e ao seu ornato, na lírica da 1.ª metade do séc. XVIII, se coaduna com a progressiva autonomização do campo literário na Europa moderna, traduzindo um trabalho que tem no horizonte uma singularização do autor, em busca de uma originalidade que lhe garanta um lugar de destaque no Parnaso. A problemática do autor afigura-se, pois, configuradora de um estudo que se propõe analisar as interações entre sujeito e instituição literária no quadro da sedimentação do pensamento moderno na literatura e cultura portuguesas, colocando em foco o jogo de espelhos patente no diálogo entre Melo e os seus críticos.
ABSTRACT This study’s objective is to revisit the eighteenth century’s Portuguese literary historiography through the work of Francisco de Pina e Melo by developing two frameworks of analysis that link two distinct aspects of the author: the poet and the literary theorist. From Francisco de Pina e Melo’s work as a poet, we pull his most significant contribution titled As Rimas, which was published in 1726 and survives as a prime example of Baroque literature. In exploring his work as a literary theorist, we will dig deep into the field of aesthetic indoctrination, as we review the dialogue of modern European poetics commentators and Portuguese critics which came in the wake of prominent mid-eighteenth century Portuguese intellectuals. In order to discuss a sequential reading of the evolution of the eighteenth century’s aesthetic movements that promotes the idea of a break in the transition from Baroque culture to that of Enlightenment (Mendes dos Remédios, Hernâni Cidade, Saraiva e Lopes, among others), we will base our inquiry in the form of aesthetic and critical thought paradigms within the literary academies, marking the debate between the old and the new mirrored in the evolution of the different perspectives that for a time overlapped. As such, it seems relevant to inquire into the relation between Pina e Melo and the novator’s mindset. It needs to be understood what the basis for the anti-baroque reaction is and in what terms it innovated the literary field of the mid-eighteenth century. Also, we need to consider how the anti-baroque reaction was received by the conservatives in the old established baroque order and how it shaped Melo’s poetry and aesthetic thought within the midst of confrontation between codes based on divergent notions of style and different conceptions of the classical heritage. Moreover, we intend to explored how the poet theoretically responded to the “new” classical taste and how he sought to adapt French simplicity and neoclassicism in his poetry. As the poet tries to reconcile these different influences, he creates something different, that can be understood in the context of Enlightenment’s quarrels over the structural conception of epic fiction; one based on the concept of Baroque allegory and Baroque varietas concept and the other based on the Aristotelian principles of verisimilitude and unity. As a reader, we can begin to see Melo’s authorial consciousness in reaction to the different criticisms directed at his work, and alongside this reaction to criticism his own characterization of his literary style, which, given the context, appears fearful of personal defamation and places a focus on building an idealized portrait of the poet and the critic. In connection to this, we will also analyze the emergence of different types of critics and audiences in regards to his work. The study of the book As Rimas I, II and III allows us to understand the nature of the Gongoric influence on the Baroque code in Portugal. We will see how funeral gloom and dark melancholy in Melo’s lyric poetry, along with other structural elements, are evidence of a subjectivism, which is connected with the building and projecting of a distinct authorial image. The emphasis given to ornate style and its grand embellishments in the Portuguese lyric poetry in the first half of the eighteenth century, which Melo was a well-known practitioner of, is consistent with the progressive autonomy of the literary field in modern Europe, preparing a path for future works which put the focus on the singularity of the author who was searching for an originality, what would guarantee him a prominent place in Parnassus. The author’s problem gives shape to a study whose purpose is to examine the interactions between the subject and the literary establishment in the context of the sedimentation of modern thought in Portuguese literature and culture, while placing a special focus on the game of smoke and mirrors which characterized the dialogue between Melo and his critics.