Relevant bibliographies by topics / Purcell, Henry, Instrumental music

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

Academic literature on the topic 'Purcell, Henry, Instrumental music'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Purcell, Henry, Instrumental music"

1

Price, Curtis. "Henry Purcell." Early Music XVIII, no. 3 (1990): 493–96. http://dx.doi.org/10.1093/earlyj/xviii.3.493.

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Wood, Bruce. "Henry Purcell." Early Music XVIII, no. 3 (1990): 496–502. http://dx.doi.org/10.1093/earlyj/xviii.3.496.

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Radice, Mark A., Peter Holman, Michael Burden, and Curtis Price. "Henry Purcell." Notes 53, no. 3 (March 1997): 791. http://dx.doi.org/10.2307/899732.

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Pines, Roger. "The Fairy Queen. Henry Purcell." Opera Quarterly 9, no. 1 (1992): 176–79. http://dx.doi.org/10.1093/oq/9.1.176.

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Graeme, R. "Dido and Aeneas. Henry Purcell." Opera Quarterly 16, no. 3 (January 1, 2000): 496–99. http://dx.doi.org/10.1093/oq/16.3.496.

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Graeme, R. "Dido and Aeneas. Henry Purcell." Opera Quarterly 18, no. 3 (July 1, 2002): 421–24. http://dx.doi.org/10.1093/oq/18.3.421.

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Harris, Dale. "Dido and Aeneas. Henry Purcell." Opera Quarterly 4, no. 4 (1986): 78–84. http://dx.doi.org/10.1093/oq/4.4.78.

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Milhous, Judith, and Michael Burden. "Performing the Music of Henry Purcell." Notes 54, no. 3 (March 1998): 688. http://dx.doi.org/10.2307/899900.

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Holman, Peter, and Margaret Campbell. "Henry Purcell: Glory of His Age." Musical Times 134, no. 1806 (August 1993): 456. http://dx.doi.org/10.2307/1003023.

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Howard, A. "English instrumental music from Byrd to Purcell." Early Music 43, no. 2 (April 6, 2015): 345–47. http://dx.doi.org/10.1093/em/cav024.

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Dissertations / Theses on the topic "Purcell, Henry, Instrumental music"

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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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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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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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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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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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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Spencer, David W. "Performing the Trumpet works of Donald Erb; A Guide to Preparation, Interpretation and Practices: A Lecture Recital, Together with Three Recitals of Selected Works by Purcell, Hindemith, Holmes, Friedman, Koetsier and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3207/.

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This study is a guide to the performer on practices associated with the trumpet music of Donald Erb. It examines the following solo and duo compositions for trumpet: the as yet unpublished Sonatina for Trumpet and Piano (1954); Four Duets for Trumpets (1960); Diversion for Two for trumpet & percussion (1966); Concerto for Trumpet and Orchestra (1980); Remembrances for two trumpets (1994); and Dance, You Monster, To My Soft Song for solo trumpet (1998). A history of each composition and information concerning the performers who premiered them are documented. An examination of particular harmonic, melodic and rhythmic elements found frequently in these pieces follow. The pieces are further assessed for difficulty through an investigation of extended technical demands, range, endurance and articulation. Additional discussion focuses on the use of mutes, tempos and dynamics as well as suggestions for the preparation and performance of these works. The dissertation concludes with a review of Donald Erb's legacy as a composer and teacher. A comprehensive discography and complete list of Mr. Erb's compositions are included in appendices.
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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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Books on the topic "Purcell, Henry, Instrumental music"

1

The Ashgate research companion to Henry Purcell. Farnham, Surrey, England: Ashgate Pub., 2011.

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Blow, John. An ode on the death of Mr. Henry Purcell: Being the song! ; The nymphs of the wells ; Dread Sir, the prince of light ; Sonata in A ; Chaconne in G ; Ground in G minor. 2017.

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(Editor), Penelope Stanley-Baker, and Charlotte Voake (Illustrator), eds. Henry Purcell (First Discovery: Music). Moonlight Publishing Ltd, 2005.

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1960-, Burden Michael, ed. Performing the music of Henry Purcell. Oxford: Clarendon Press, 1996.

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Purcell. Taylor & Francis Group, 2010.

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Compositional Artifice in the Music of Henry Purcell. Cambridge University Press, 2019.

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Herissone, Rebecca. Ashgate Research Companion to Henry Purcell. Taylor & Francis Group, 2017.

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A, Price C. Henry Purcell and the London Stage. Cambridge University Press, 2009.

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Thompson, Robert, and Robert Shay. Purcell Manuscripts: The Principal Musical Sources. Cambridge University Press, 2000.

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Thompson, Robert, and Robert Shay. Purcell Manuscripts: The Principal Musical Sources. Cambridge University Press, 2006.

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Book chapters on the topic "Purcell, Henry, Instrumental music"

1

"‘The chiefest instrumental musick now in request’: Canzonas and Other Sonata Fugues." In Compositional Artifice in the Music of Henry Purcell, 75–103. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.005.

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"Introduction." In Compositional Artifice in the Music of Henry Purcell, 1–20. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.002.

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"In Counterpoint: Sources and Analysis." In Compositional Artifice in the Music of Henry Purcell, 23–34. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.003.

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"Artifice, Fugeing and Fantazia." In Compositional Artifice in the Music of Henry Purcell, 35–74. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.004.

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"‘The power of the Italian notes’: Purcell’s Sonatas as and in Reception." In Compositional Artifice in the Music of Henry Purcell, 104–40. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.006.

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"‘Celestial art[ifice]’ in Hail, bright Cecilia." In Compositional Artifice in the Music of Henry Purcell, 143–50. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.007.

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"Artifice and Musical Modelling." In Compositional Artifice in the Music of Henry Purcell, 151–86. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.008.

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"Augmentation as Artifice, Artifice as Augmentation." In Compositional Artifice in the Music of Henry Purcell, 187–235. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.009.

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"‘Italian sonatas in orchestral garb’." In Compositional Artifice in the Music of Henry Purcell, 236–70. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.010.

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"Bibliography." In Compositional Artifice in the Music of Henry Purcell, 271–83. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139030458.011.

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