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Cirne, Luís Fernando Muniz. "Scarlatti e Beethoven: proximidades?" Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-24102014-104856/.
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A observação recorrente que alguns pianistas, professores de piano e compositores fazem sobre a presença da escrita de Domenico Scarlatti em alguns movimentos das Sonatas de Beethoven, sugere que há alguma relação estética entre estes compositores até então não devidamente esclarecida. A primeira questão que aparece é como Domenico Scarlatti pôde chamar a atenção de Beethoven, considerando que Scarlatti foi um compositor italiano que saiu de Nápoles para Lisboa e finalmente Madrid, onde compôs as suas 555 Sonatas para o teclado, dedicadas à sua empregadora, rainha Maria Bárbara da Espanha. Beethoven, nascido em 1770, um século após Scarlatti, de outro lado, permaneceu em Viena e arredores por praticamente toda a sua vida profissional. Este trabalho busca investigar proximidades estéticas entre a composição para teclado de Domenico Scarlatti contidas na edição de Carl Czerny e as 32 Sonatas para piano de Beethoven. Busca também esclarecer aspectos da biografia de Domenico Scarlatti e a trajetória das cópias manuscritas de suas 555 Sonatas pela Europa, uma vez que trazem inovações formais e estéticas para sua época. Parte destas Sonatas chegou à Viena através de duas coleções de cópias manuscritas, chamadas de coleção Viena I e Viena II. Através destes manuscritos e das cópias que foram feitas a partir deles, Carl Czerny realizou sua edição. Admite-se que Beethoven tenha tido alguma familiaridade com esta edição das Sonatas de Scarlatti, uma vez que Czerny foi, durante muitos anos, seu aluno e amigo próximo. A metodologia utilizada para aferir semelhanças entre Scarlatti e Beethoven se baseia em duas abordagens. A primeira fundamenta-se na análise comparativa tradicional - não automatizada - sobre procedimentos composicionais de ambos os compositores. A segunda utiliza-se de recursos computacionais para identificar e quantificar a presença de fragmentos melódicos extraídos das Sonatas de Scarlatti da edição de Czerny nas Sonatas de Beethoven, com auxílio da tecnologia do toolkit music21, software desenvolvido pelo Massachusetts Institute of Technology a partir de 2010 e disponível através da página de internet http://web.mit.edu/music21/. Seu uso, neste trabalho, aponta para novas possibilidades de abordagem na análise musical cujos resultados e conclusões são obtidos a partir de parâmetros distintos da análise musical tradicional. As análises comparativas tradicionais evidenciaram semelhanças importantes entre os procedimentos composicionais de Scarlatti e Beethoven como, por exemplo, o uso dos silêncios, das mudanças inesperadas de andamento e de caráter. A partir do software construído com a utilização do toolkit music21 para a busca dos fragmentos scarlattianos nas Sonatas de Beethoven, obteve-se resultados de grande relevância, identificando sequencias intervalares idênticas, encontradas nas Sonatas de Beethoven e não verificadas em Mozart, cujas Sonatas foram submetidas ao mesmo método.A recurrent observation that some pianists, piano teachers and composers make about the presence of Domenico Scarlatti\'s writing in some movements of Beethoven Sonatas, suggests that there is some aesthetic relationship between these composers that was not properly clarified. The first question that appears is how Domenico Scarlatti music could draw the attention of Beethoven, considering that Scarlatti was an Italian composer who left Naples to Lisbon and finally Madrid, where he composed his 555 keyboard sonatas, dedicated to his employer, Queen Maria Barbara of Spain. Beethoven, born in 1770, a century after Scarlatti, on the other hand, remained in and around Vienna virtually his entire professional life. This research investigates aesthetic similiarities between Domenico Scarlatti keyboard Sonatas contained in Carl Czerny edition and the 32 piano Sonatas of Beethoven. It also intends to clarify aspects of Domenico Scarlatti\'s biography and the trajectory of his 555 keyboard Sonatas that bring formal and aesthetics innovations for his time. Part of these Sonatas has come to Vienna in two manuscript copy collections called Vienna I and Vienna II. Through these two manuscript collections and the copies made out of them, Carl Czerny organized his own edition of the Scarlatti Sonatas. It has been admitted that Beethoven was familiar with these Sonatas, considering his long friendship with Czerny. The methodology used to establish similarities between Scarlatti and Beethoven composition is based on two approaches. The first is founded on the traditional comparative analysis - not automated - on compositional procedures of both composers. The second approach makes use of computational resources to identify and quantify the presence of melodic fragments, extracted from Scarlatti Sonatas of Czerny edition, on Beethoven sonatas, with the aid of the toolkit music21, technology developed by MIT in 2010 and available on the internet page http://web.mit.edu/music21/. Its use in this work points to new possibilities for musical analysis whose results and conclusions are obtained from different parameters of traditional musical analysis. The traditional comparative analyzes has revealed important similarities between the compositional procedures of Scarlatti and Beethoven, for example, the use of silences, unexpected changes of timing and character. From the software built using the toolkit music21 to search for melodic fragments of Scarlatti Sonatas on Beethoven piano Sonatas, it has yielded results of great relevance, as the indentification of identical musical intervallic sequences, found in Beethoven Sonatas and not verified on Mozart, whose Sonatas were submitted to the same method
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Schacht-Pape, Ute. "Das Messenschaffen von Alessandro Scarlatti /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35619096b.
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Boulanger, Richard. "Les Innovations de Domenico Scarlatti dans la technique du clavier /." Béziers (BP 4049, 2 Pl. de la Révolution, 34325 Cedex) : Société de musicologie de Languedoc, 1988. http://catalogue.bnf.fr/ark:/12148/cb349402105.
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Hale, Harris Kimberly Coulter. "Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710." Thesis, Connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/hale%5Fharris%5Fkimberly/index.htm.
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Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.
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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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Navakaitė, Neringa. "Domenico Scarlatti kūrybos bruožai bei klavyrinių sonatų sandaros ir muzikos kalbos ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_133014-38005.
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Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo.
Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yra prieinamos apie 500. D. Scarlatti savo sukurtas klavesinines kompozicijas pavadino „Essercizi per Gravicembalo“ (etiudai, pratimai, bipartitos klavesinui). Daugelis šių sonatų kompozitoriui praversdavo jo pedagoginiame darbe. Savo sukurtose sonatose D. Scarlatti techninius uždavinius derindavo su meniniu turiniu. Nors italų meistro klavyriniai kūriniai pavadinti sonatomis, tačiau, pagal jose esančius įvairiems žanrams būdingus bruožus, kompozicijas galime suskirstyti į svarbiausius mokyklinio repertuaro žanrus: polifoninės sandaros kompozicijas, etiudus, stambios formos tipo kūrinius bei įvairaus pobūdžio pjeses.
Kompozitorius kaip tikras virtuozas ir revoliucionierius buvo daugelio naujovių savo klavesininėje kūryboje bei jos atlikime skleidėjas. Jo kūryboje užfiksuoti tokie pasiekimai kaip: žėrinčių gamų per kelias oktavas pasažai, įvairiausios faktūros arpeggio (trumpi ir laužyti)... [toliau žr. visą tekstą]Domenico Scarlatti (1685-1757) – one of the most famous Baroque epoch italian composer, harpsichordist, organist, pedagogue and performer. His harpsichord creativity is undoubted XVIII century phenomenon of music culture. D. Scarlatti piano works are realted to the period, when homophonic music language came over polyphonic style. Though the composer created various kind of compositions, the most important part of creativity is the harpsichord sonatas. These pieces monumentalized the name of the italian composer into the history of music life. He created more than 600 harpsichord sonatas, but today there are only about 500 available to performers. D. Scarlatti‘s harpsichord compositions named by him self „Essercizi per Gravicembalo“ (etudes, exercises, bipartitas for harpsichord). Most of these sonatas were useful in composers pedagogic work. In his sonatas, D. Scarlatti has associated technical exercises with artistical matters. Piano pieces of the italian maestro were titled by the name of sonatas, but of the features existent in them, we can collect these compositions into most important genres in music school repertoire: polyphonic structure compositions, etudes, big forms type pieces and various kind of plays. The composer was a spreader of this many novelty in his harpsichord creativity work and in performing it like a really virtuoso and big revolutionist. His works include such achievements as: sparkling scale passages through several octaves, various kind of... [to full text]
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Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.
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Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.
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Bibliography: leaves 56-57.The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices already in place. However, it was through experimentation and modifications, which resulted in increased virtuosity in others, that they bridged the gap between the Baroque and the Classical periods, and contributed profoundly to the development of the keyboard sonata.
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Abbassian-Milani, Farhad. "Zusammenhänge zwischen Satz und Spiel in den Essercizi (1738) des Domenico Scarlatti /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb39996118t.
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Francou-Desrochers, Maria-Alexandra. "Resituating Scarlatti in a nationalist context: Spanish identity in the «Goyescas» of Granados." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66645.
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Profound changes marked music in Spain towards the end of the nineteenth century. Casting aside Italian influences, which had governed many aspects of music in Spain up until then, Hispanic composers sought to redefine and regenerate the nation's musical identity. Taking as their model the so-called "Generation of '98," a literary movement that explored new ways of defining a "genuine" Spanishness, Spanish composers—chief among them Enrique Granados—took inspiration from pre-nineteenth-century musical figures, including, perhaps paradoxically, composers who came from outside the Iberian peninsula. This thesis demonstrates how the eighteenth-century Italian keyboardist-composer Domenico Scarlatti became an important symbol of "authentic" Spanish identity for fin-de-siècle composers in Spain. I show how Spanish composers claimed cultural ownership of Scarlatti and incorporated his keyboard idiom into their own works. I focus in particular on Granados' Goyescas: Los majos enamorados, a composition in which, I argue, Scarlatti's influence can be discerned (as yet no literature on this topic exists). I claim that Granados articulated a renewed conception of authentic Spanish identity through invoking Scarlatti in Goyescas.De profonds changements marquèrent le nationalisme musical en Espagne au tournant du vingtième siècle. Mettant de côté l'influence italienne, qui avait gouverné plusieurs aspects de la vie musicale en Espagne, les compositeurs hispanophones cherchèrent à redéfinir et à régénérer l'identité musicale de la nation. Prenant comme modèle la génération de '98, (un cercle de jeunes auteurs en quête d'une nouvelle authenticité nationale), les compositeurs espagnols puisèrent leur inspiration dans le passé musical de la nation. Dans ce mémoire, je démontre que le claveciniste du dix-huitième siècle Domenico Scarlatti, malgré ses origines italiennes, devint un important symbole d'authenticité identitaire pour les compositeurs espagnols à la fin du dix-neuvième siècle. J'examine la manière par laquelle ces musiciens se sont approprié Scarlatti et ont incorporé son langage baroque dans leurs propres compostions. Je porte une attention particulière à Goyescas: Los majos enamorados, une œuvre d'Enrique Granados où l'on peut noter, selon moi, l'influence de Scarlatti. (Jusqu'à maintenant, aucune recherche n'a porté sur ce sujet). Je suggère qu'en invoquant Scarlatti, Granados souhaite articuler une conception renouvelée d'identité hispanique.
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Giliberti, Patrizia. "A interpretação das sonatas de Domenico Scarlatti no piano moderno: edição crítica dos manuscritos: "Manuscrito P-Cug MM 58, 10 da Biblioteca Geral da Universidade de Coimbra", "Essercizi per Gravicembalo (1738) da Biblioteca Nacional de Portugal" e "Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal"." Doctoral thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/10693.
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A tese tem o objetivo de dar os fundamentos para uma interpretação atual, no piano moderno, das sonatas de Domenico Scarlatti contidas nas coleções portuguesas: Essercizi per gravicembalo, Manuscrito P-Cug MM 58,10 da Biblioteca Geral da Universidade de Coimbra e Manuscrito F. C. R. 194. 1 da Biblioteca Nacional de Portugal, originalmente compostas para os instrumentos de tecla da época.
Apresenta uma nova edição crítica destas sonatas, em notação moderna e com dedilhação, que tem como base a análise formal e harmónico-estrutural, incluindo os aspetos organológicos, de ornamentação, andamento, ritmo, fraseado, articulação, dedilhação, dinâmica e uso do pedal das mesmas sonatas, o estudo comparativo de todas as fontes existentes, assim como uma análise das diversas gravações disponíveis.
Do mesmo modo, o compositor e a sua obra, com especial relevo para as sonatas, encontram-se historicamente contextualizados, pois a compreensão das suas intenções, da prática da época e das suas convenções de interpretação devem ser aliadas à criatividade do intérprete; #### ABSTRACT:
The purpose of the thesis is to provide the basis for a modern interpretation on the modern piano of Domenico Scarlatti's sonatas included in the Portuguese collections, Essercizi per gravicembalo of Biblioteca Nacional de Portugal, Coimbra Manuscript n. 58 P-Cug MM 58,10 and the Portuguese F. C. R. Manuscript 194. 1 of Biblioteca Nacional de Portugal which were originally composed for the keyboard instruments of the time.
A new critical edition of these sonatas is presented, with modern notation and fingering, based on a formal, structural and harmonic analysis, including some aspects regarding organology ornamentation, tempo, rhythm, phrasing, articulation, fingering, dynamics and the use of the pedal, a comparative study of all existing sources as well as an analysis of various recordings available.
The composer and his work are also historically contextualized with special focus on the sonatas, because a comprehension of his intentions and the performance practices of his time should be associated to the creativity of the interpreter.
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CIPRIANI, BENEDETTO. "La tradizione del partimento a Roma e le «Regole per ben [son]are il cembalo [...]» di Alessandro Scarlatti." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2020. http://hdl.handle.net/2108/270434.
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Dubowy, Norbert. "Zur Morphologie des «dramma per musica». Die Doppelarie bei Alessandro Scarlatti und seinen Zeitgenossen." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37137.
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Svanström, Oscar. "Känsla för improvisation eller improvisation för känsla : En självstudie av improvisationsövning i historisk västerländsk konstmusikalisk kontext." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84952.
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Denna självstudie undersöker en lärprocess i improvisation med avstamp i historisk västerländsk konstmusikalisk repertoar och två sonater av Domenico Scarlatti. Syftet med projektet var att se hur min förmåga att improvisera påverkades av övning och att studera historisk improvisation. Under studiens övningsperiod utforskades improvisation med utgångspunkt i historiska improvisationstekniker och nutida forskning. Utforskningen ägde rum under tio veckor och dokumenterades med videoobservation och loggbok som sedan transkriberades och analyserades utifrån tematisk analys. I resultatet beskriver jag designen av min improvisationsövning och konsekvenserna av den designen. Utforskningen av improvisation gick från fri utforskning mot att begränsningar lades till under övningstidens gång. I resultatet kunde ett antal tecken på utveckling av improvisationsförmåga ses. Det framkom också att mina improvisationer blev mer stringenta, med stabilare flöde och med fler musikaliska idéer under projektets gång. I diskussionen diskuteras olika perspektiv på improvisation i relation till resultatet.This study examines a learning process in improvisation based on historical western art music repertoire and two sonatas by Domenico Scarlatti. The purpose of this project was to see how my ability to improvise was affected by practice and study of historical improvisation. Improvisation was explored on basis of historical improvisation techniques and contemporary research during the practice period of this study. The practice period took place over ten weeks and was documented with video observation and a logbook, which then was transcribed and analyzed using thematic analysis. In the result section I describe my design of my improvisation practice and the consequences of that design. The exploration of improvisation went from free to exploration to a more restricted exploration by the end of the practice period. A number of signs of development of my ability to improvise could be observed by the end of the practice period. I also found that my improvisations became more stringent, with a more stable flow and with more musical ideas during the project. The discussion section discusses different perspectives of improvisation in relation to the result.
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Marx-Weber, Magda. "Domenico Scarlattis ”Miserere”-Vertonungen für die Cappella Giulia in Rom." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38292.
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Lin, Shuennchin. "The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288715.
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This document is a thorough study of the glissando throughout its chronological development, consisting of an examination of differences in the glissando's functions, types, and executions. Examples are extracted from piano solo and piano concerto compositions, which were written by composers from Domenico Scarlatti, born in 1685, to George Crumb, born in 1929. The glissando was used as a formal compositional device in the eighteenth century, beginning with the works of Domenico Scarlatti. It evolved from the Schleifer and was ornamental and occasionally melodic in function. Composers of the Classical period, like Ludwig van Beethoven and Carl Maria von Weber, expanded the device into octaves, which before the end of the nineteenth century was adopted by Bedrich Smetana, Johannes Brahms, and Mily Balakirev. Franz Liszt produced many two-hand and double-note glissandi, and his output of glissandi is the most numerous in the entire piano repertoire. In twentieth-century, Bela Bartok produced a dry effect in the glissando, while Prokofiev produced the most numerous glissandi in this century. Hindemith wrote an unusual form of black-and-white glissando; Tippett's example is of the "fanfare" effect; and Britten contributed many glissandi in a single work, to a degree perhaps exceeded only by Liszt's works. For nationalistic composers, like Manuel de Falla and Heitor Villa-Lobos, the glissando is a fine device to express the feeling of ethnic emotions, such as joyful and energetic. Besides, the use of the black-key glissando gives composers a fine application for impressionistic purposes, since its pentatonic orientation is easy to liken to images of nature: water, wind, etc. Such examples are found in the works of Claude Debussy, Maurice Ravel, and others. Nonetheless, it becomes less crucial in this harmonic consideration in the works of more recent composers, in whose works the concept of tone-clusters or just a "noise" is revealed. This thesis also includes two appendices, one contains a chart of 473 glissandi categorized by function, and the second, an original composition by the author, which includes numerous glissandi in various types.
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Yáñez, Navarro Celestino. "Nuevas aportaciones para el estudio de las sonatas de Domenico Scarlatti. Los manuscritos del Archivo de Música de las Catedrales de Zaragoza." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394016.
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Tradicionalment, s’ha donat per descomptat que la difusió de la música de Domenico Scarlatti durant el segle XVIII a Espanya fou escassa. Es creia que la circulació de música de tecla es va circumscriure a la cort de Madrid i la seva propera àrea d’influència, sobretot, per dues raons. La primera, pel fet que el nombre de còpies manuscrites trobades als arxius espanyols era reduïda, cosa que ha canviat en els darrers últims anys. La segona, pel desconeixement de que podria existir a Espanya una gran col·lecció de sonates realitzada en vida de Domenico Scarlatti.
No obstant això, el descobriment dels manuscrits de sonates existents a Saragossa, dut a terme pel Dr. José Vicente González Valle, ha permès disposar d’un nou fons documental d’especial transcendència per als investigadors. La present tesi doctoral, que suposa el primer treball realitzat sobre aquestes fonts espanyoles a nivell internacional, ha donat lloc a l’aflorament de noves dades inèdites; i conseqüentment, ha posat de manifest la necessitat de revisar algunes de les tesis assumides pels investigadors més rellevants sobre aquesta matèria.
A partir del meu estudi, he arribat a la conclusió que els còdexs van poder ser originàriament propietat del compositor espanyol, d’origen aragonès, José de Nebra, que va estar més de quaranta anys al servei de la cort espanyola. La col·lecció de sonates de Saragossa tindria el seu origen a la possible relació existent entre D. Scarlatti i José de Nebra; músics que van coexistir en la cort des de 1733 (any en què Ferran VI i Maria Bàrbara de Bragança es van instal·lar definitivament a Madrid) fins a 1757 (any de la mort de D. Scarlatti). Considerant el nombre d’obres, l’origen dels manuscrits, els copistes que hi intervenen, la data primerenca de còpia de la música, i el valor musicològic de les versions contingudes, no hi ha cap dubte que la col·lecció de Saragossa és única a Espanya, situant-se al mateix nivell de les col·leccions de Venècia i Parma.Tradicionalmente, se ha dado por supuesto que la difusión de la música de Domenico Scarlatti durante el siglo XVIII en España fue escasa. Se creía que la circulación de sus sonatas para teclado se circunscribió a la corte madrileña y a su área próxima de influencia, sobre todo, por dos motivos. El primero, por el hecho de que el número de copias manuscritas encontradas en los archivos españoles era reducido, algo que ha cambiado en los últimos años. El segundo, por el desconocimiento de que pudiera existir en España alguna gran colección de sonatas elaborada en vida de Domenico Scarlatti. No obstante, el hallazgo de los manuscritos de sonatas existentes en Zaragoza, llevado a cabo por el Dr. José Vicente González Valle, ha permitido disponer de un nuevo fondo documental de especial trascendencia para los investigadores. La presente tesis doctoral, que supone el primer trabajo realizado sobre estas fuentes españolas a nivel internacional, ha dado lugar al afloramiento de nuevos datos inéditos; y consecuentemente, ha puesto de manifiesto la necesidad de revisar algunas de las tesis dadas por sentadas por los investigadores más relevantes sobre esta materia. A través de mi estudio, he llegado a la conclusión de que los códices pudieron ser originariamente propiedad del compositor español, de origen aragonés, José de Nebra, quien estuvo más de cuarenta años al servicio de la corte española. La colección de sonatas de Zaragoza pudo tener su origen en la posible relación existente entre D. Scarlatti y José de Nebra; músicos que coexistieron en la corte desde 1733 (año en el que Fernando VI y María Bárbara de Braganza se instalaron definitivamente en Madrid) hasta 1757 (año de la muerte de D. Scarlatti). Considerando el número de obras contenidas, el origen de los manuscritos, los copistas que intervienen, la fecha temprana de copia de la música, y el valor musicológico de las versiones contenidas, no cabe duda alguna de que la colección de Zaragoza es única en España, situándose al mismo nivel de las colecciones de Venecia y Parma.
It has been traditionally believed that the diffusion of the music by Domenico Scarlatti during the 18th century in Spain was scarce. It has been taken for granted that diffusion of his sonatas for keyboard was limited to the circle of the court of Madrid and its nearest area of influence. This argument was sustained for a long time mainly because of two reasons. The first one, because the number of manuscript copies found in Spanish archives was small, something that has changed over the last years. The second one, because of the ignorance that there could exist a great collection of sonatas composed during the lifetime of Domenico Scarlatti in Spain. Nevertheless, the founding of a great corpus of sonatas in Saragossa by Dr. José Vicente González Valle, has meant the opening of a new and relevant line of research. In this sense, this doctoral thesis, which is the first work made about these Spanish sources on an international level, has allowed the outcoming of unpublished data; and consequently, has shown the need to revise some of the thesis put forward as true by the most relevant researchers on this field. During my investigation, I have reached the conclusion that the codexes could have been originally owned by the Spanish composer, of Aragon origin, José de Nebra, who served for over forty years for the Spanish court. The collection of sonatas from Saragossa could have its origin in the possible relationship between D. Scarlatti and José de Nebra; musicians who coexisted in the courtfrom 1733 (year when Fernando the sixth and María de Braganza definitely settled in Madrid) and seventeen-fifty-seven (year of the death of D. Scarlatti). Considering the number of works within, the origin of the manuscripts, the copyists that intervened, the early date of the copy of the music, and the musicological value of the versions, there is no doubt that the collection of Saragossa is unique in Spain, being at the same level of the collections of Venice and Parma
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Campbell, Alan Douglas. "The binary sonata tradition in the mid-eighteenth century : bipartite and tripartite "First halves" in the Venice XIII collection of keyboard sonatas by Domenico Scarlatti." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33275.
Full textAbstract:
Comparatively few theoretical studies exist on the keyboard sonatas of Domenico Scarlatti. His music remains largely unexplored. This study investigates formal and functional aspects of the "first halves" in the Venice XIII collection (K 514--K 543) and reveals links to the aesthetics and traditions of his contemporaries. It suggests and examines relationships to the development of the sonata genre. To accomplish this, the study proposes a theoretical base for critical analysis and presents a specialised terminology to examine the features of mid-eighteenth-century sonata forms. The arguments of Michelle Fillion, J. P. Larsen, and Wilhelm Fischer are central to the discussion. Studies by William Caplin, Barbara Foster, Klaus Heimes, Ralph Kirkpatrick, and James Unger also contribute to the development of the theoretical base. An analysis section views the selected repertoire and some contemporary works according to the criteria the thesis establishes. An epilogue sums up pertinent observations made in the analysis section.
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Vrtiška, Karel. "Hudební a pianistický přínos sonát Domen ica Scarlattiho." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202883.
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The goal of the work is to amplify the volume of respectable academic work dedicated to the pieces and life of Domenico Scarlatti which is not, even nowadays, much abundant in the Czech language. The author's effort was also to help other interpreters of Scarlatti's sonatas, who might be reading this work in the future, to familiarize with pieces of knowledge on the sonatas which has not been widely known and to get valuable and inspirational stimuli that may help them when practising.
The work is focused on the form of the sonatas and on solution of technical difficulties, which, considering the period of their origin, are much unprecedented. It were these analyses that help the author elucidate the thematic field that can be also found in the title of the work - musical and pianistic contribution of the sonatas of Domenico Scarlatti.
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Paz, Martha Costa Guterres. "Avalovara: leituras musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/33668.
Full textAbstract:
Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007).This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).
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Heiden, Mary Gifford. "Patronage, Connoisseurship and Antiquarianism in Georgian England: The Fitzwilliam Music Collection (1763-1815)." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103327/.
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In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.
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Theodoropoulou, Marina. "Alessandro Scarlatti - soprano cantatas : edition, commentary and recorded performances of the autograph cantatas in Yale University, Beinecke Rare Book and Manuscript Library, Osborn Music MS 2." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3808/.
Full textAbstract:
The current doctoral study uncovered and revived 28 autograph cantatas for Soprano and Basso Continuo composed between 1704 and 1705 by Alessandro Scarlatti (1660-1725). The studied cantatas are held in a manuscript containing 36 cantatas (one of which misses the beginning) in Yale University, Beinecke Rare Book and Manuscript Library, James Marshall and Marie-Louise Osborn Collection, Call Number: Osborn Music MS 2. The historical context in which the cantatas were written and performed is introduced. A physical description of the manuscript follows, with the aim to assist the reader in achieving a better appreciation and understanding of these cantatas in terms of performance practice. The relation between the text and the music, and the adaptation of the rhetorical characteristics of the text into music, are two of the most salient features of this cantata collection. These features are described in great detail and their implications for the performance of the cantatas have been explored. A major contribution of this study in the field of performance practice is the production of a modern performing edition with an editorial commentary and of a recording of the 28 autograph cantatas with harpsichord accompaniment.
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Duell, Trevor. "The Use of the Trumpet in Early Seventeenth Century Spanish Music Dramas: A Comparative Analysis of Selected Works by Sebastián Durón, Joaquín Martínez de la Roca, and Alessandro Scarlatti." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955023/.
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The purpose of this project is to conduct and analysis of the role and symbolism of the trumpet in two early eighteenth century Spanish music dramas: La Guerra de los Gigantes by Sebastian Duron and Los Desagravios de Troya by Joaquin Martinez de la Roca.
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Bizzarini, Marco. "Griselda e Atalia: exempla femminili di vizi e virtù nel teatro musicale di Apostolo Zeno." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425035.
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This dissertation studies two libretti of Apostolo Zeno: the opera «Griselda» (Venice, 1701) and the oratorio «Joaz» (Vienna, 1726) along with the music composed by Albinoni, Predieri, Giovanni Maria Bononcini, Orlandini, Alessandro Scarlatti, Francesco Bartolomeo Conti, Vivaldi, Caldara and Benedetto Marcello. A systematic examination of libretti, scores, textual revisions, contemporary chronicles and documents sheds new light on the genesis of these works, among which Vivaldi's «Griselda», based on Goldoni's revision, presents a special interest. Moreover, the thesis reconsiders Zeno's libretto reform in the light of his unpublished correspondence, so far neglected by musicological studies. These documents reveal for the first time Zeno's opinions on composers such as Albinoni, Porta, Orlandini, Carapella, Caldara, Fux, and librettists such as Noris, Silvani, Salvi, Frigimelica Roberti, Conti, Rolli, Stampiglia and Metastasio.
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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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Smith, Katherine P. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/628.
Full textAbstract:
This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.
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Lively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.
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Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarities between selected pieces of Annees de Pelerinage III and other programmatic or texted works by Liszt sharing the same subject. The findings reinforce the premise that Liszt deliberately intended to express certain extra-musical ideas within the music itself. The paper briefly analyzes the musical reasons for labeling Annees de Pelerinaae III a cycle. Different sources call these pieces cyclic, citing the shared common religious theme as the reason. This dissertation discusses musical reasons that reinforce the idea of a cycle. Chapter II discusses Liszt's views on program music. Chapter III identifies common themes in Liszt's programmatic works and discusses the symbolic significance of thematic transformation. Chapter IV suggests an approach to analyzing program music. Chapter V discusses Liszt's musical narrative and his use of common rhetorical devices. Chapter VI analyzes extra-musical associations in selected pieces from the Annees de Pelerinaae—Troisieme Annee. Five pieces have been selected for analysis—Anaelus1. Aux Cypres de la Villa d'Este I and II, Marche funebre. and Sursum corda.
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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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Rushing, JemmiLou Rye. "The Influence of Selma Meerbaum-Eisinger's Death on Xaver Paul Thoma's Composition of Ich bin in Sehnsucht Eingehüllt: Sieben Lieder für Sopran und Klavier, A Lecture Recital Together with Three Recitals of Selected Works of O. Messiaen, G.F. Handel, A. Scarlatti, J.S. Bach, W. Latham, and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3216/.
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The aim of this study is to introduce the contemporary German composer, Xaver Paul Thoma, and his composition, Ich bin in Sehnsucht Eingehüllt on the poems of Selma Meerbaum-Eisinger. This study explores the possible reasons behind Thoma's decision to set the poems, as well as the circumstances and significance of the poets' life and poetry, made known through Thoma's composition. An analysis of each song is included, emphasizing especially the relationship between text and music.
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Rushing, JemmiLou Rye. "The influence of Selma Meerbaum-Eisinger's death on Xaver Paul Thoma's composition of Ich bin in Sehnsucht eingehüllt, sieben Lieder für Sopran und Klavier a lecture recital, together with three recitals of selected works of O. Messiaen, G.F. Handel, A. Scarlatti, J.S. Bach, W. Latham and others /." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/rushing%5Fjemmilou/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded June 17, 1996, June 23, 1997, Mar. 31, 2001, and Apr. 22, 2002. Includes bibliographical references (p. 46-48).
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De, La Matter Katherine. "Domenico Scarlatti's Tolomeo et Alessandro : an investigation and edition." Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551235.
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This investigation focuses on Domenico Scarlatti's Tolomeo et Alessandro (Rome, 1711), as a representative part of an understudied body of work by a composer who is well-known, but not often acknowledged for his vocal works. The dramma per musica was one of the most popular forms of entertainment in Rome in this period, particularly amongst the most influential group of literati in Italy at that time: the Accademia dell' Arcadia. Scarlatti's setting of this work took place against the backdrop of the turbulent literary aesthetics of the Arcadians: the patron who commissioned the work, the librettist, and a number of members of the audience for which it was composed belonged to the organization. Assessment of the location of features of the libretto within the spectrum of Arcadian practice will preface an examination of the means by which these valued elements were realised in the musical setting. Analysis of Scarlatti' s response to the libretto will assess musical structures, instrumentation, harmonic and melodic devices and tempi, with a view to synthesising an understanding of his practice in setting those literary and theatrical devices appreciated by Arcadian listeners. The study will conclude with brief comparisons of Scarlatti's stylistic characteristics to those evident in other extant drammi per musica by the composer, select works by his father Alessandro, and Handel's setting of the same libretto: Tolomeo, re d'Egitto (1728). The sole complete score of Tolomeo et Alessandro is held by the National Trust at Belton House, Lincolnshire, UK. An edition of this score, presented in Volume II with an accompanying preface and apparatus, complements the discussion in Volume 1. In turn, Volume I provides extensive information about the physical materials of the sources of the edition, and commentary relevant to performance of the work. As complete sources of Roman operas from this period are rare, this edition is included not only as an integral part of the dissertation, but also as a resource for the reader, and for future scholarship.
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Chae, Eunhee. "Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2727/.
Full textAbstract:
Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.
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Sulaiman, Samaa. "Les pianistes et le répertoire du baroque tardif pour clavier : réflexion sur un corpus d’interprétations discographiques (J.S.Bach, Rameau, D.Scarlatti)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20058/document.
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Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique moderne de la musique ancienne. Nous nous intéressons particulièrement au répertoire pour clavier de l’époque du baroque tardif. L’instrument pratiqué aujourd’hui, le piano, occupe une place visible dans l’interprétation de ce répertoire. Or, ce répertoire a été conçu pour des instruments différents. Comment le piano a-t-il conquis son statut d’instrument propre à l’exécution de ces oeuvres ? Comment les pianistes ont-ils vécu le mouvement baroquiste ? qu’en est-il des aptitudes du piano à rendre justice à cette musique ? Quelles sont les philosophies interprétatives impliquées dans la problématique ? La recherche projetée se propose de répondre à ces questionnements, en choisissant pour terrain d’étude des oeuvres de Bach, Scarlatti et Rameau, compositeurs porteurs chacun de caractéristiques stylistiques particulières. L’étude analytique appliquée sera circonscrite aux enregistrements discographiques depuis l’époque du microsillonThe second half of the twentieth century witnessed the development of the movement of renewal in the interpretation of old music, especially that of the Baroque period, depending on theoretical updating, reading and studying of contemporary works that provided musicians with a range of elements which have no relation with the traditional interpretation inherited from the nineteenth century.The approach applied in composing music was accompanied by a restoration and reopening of the former instruments, which became essential to the modern performance of old music. As a pianist, I am very much interested in the keyboard repertoire of the late Baroque, or the second half of the eighteenth century. The instrument played today, the modern piano, has a visible place in the landscape interpretation of baroque repertoire for keyboard. However, these works were designed for an entirely different instrument. How could the harpsichord play old works? How pianists interested in Baroque music experienced the movement "baroque"? What is really the piano skills do to this music? Beyond that, how are the philosophers of interpretation involved in this issue? What is their philosophy and how was it built? The proposed study aims to answer this set of questions, preferred the keyboard works String of Bach, Scarlatti and Rameau, composers representing distinct tradition of writing and Holders of each particular stylistic characteristics.The analytical study was applied in addition to recordings from the time of microstomia
شهد النصف الثاني من القرن العشرين تطورا مشهودا لحركة تجديد أداء الموسيقا القديمة, خصوصا موسيقا الباروك,مستندة على قاعدة نظرية إن إعادة النظر قراءة و دراسة الأعمال الحديثة قدمت للموسيقيين مجموعة عناصر سمحت لهم ببناء أداءات موسيقية تقطع صلتها تماما مع تقاليد أداء القرن التاسع عشر إن المنهجية المطبقة على كيفية الصياغة الموسيقية, ترافقت مع عملية ترميم و إعادة بناء معتمدين على ا لعودة إلى الآلة القديمة التي أصبحت بدورها عنصرا أساسيا في عملية الأداء المعاصر للموسيقا المؤلفة ماقبل ١٨٠٠كوني عازفة بيانو أعير اهتماما خاصا لمجموعة الأعمال المكتوبة لآلات الكلافيه في فترة الباروك المتأخرةأو الجزء الثاني من القرن الثامن عشر. الآلة الممارسة اليوم البيانو المعاصر يشغل مكانا مركزيا في أداء مجموعة هذه الأعمال. لكن هذه الأعمال كانت مكتوبة و مخصصة لآلات مختلفة كيف استطاعت آلة المطارق (البيانو) أن تحتل مكانها كآلة قادرة بدورها على أداء الأعمال القديمة؟ كيف نظرعازفو البيانو المهتمون بموسيقا الباروك الى ظاهرة حركة الباروكيين؟ ماهي صلاحيات آلتهم لاعطاء هذه الموسيقا حقها الكامل؟ ماهي الفلسفات التي تتضمنها هذه الإشكالية, ما هو تاريخ هذه الفلسفات وعلى أي أساس بنيت؟ إن البحث الآتي يقترح الإجابة على مجموعة هذه الأسئلة بالاستناد إلى دراسة خاصة لأعمال آلات الكلافيه للمؤلفين باخ, رامو وسكارلاتي، الذين يمثل كل منهم مدرسة قائمة بحد ذاتها, و تتميزمؤلفات كل منهم بخصائص أسلوبية واضحة. الدراسة التحليلية المطبقة, معززة أيضا بتسجيلات صوتية لأداءات مختلفة على آلة البيانو منذ عام ١٩٥٠ حتى يومنا الحاضر
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Scarlat, Raul Cristian [Verfasser], Georg [Akademischer Betreuer] Heygster, Gunnar [Gutachter] Spreen, and Leif Toudal [Gutachter] Pedersen. "Improving an optimal estimation algorithm for surface and atmospheric parameter retrieval using passive microwave data in the Arctic / Raul Cristian Scarlat ; Gutachter: Gunnar Spreen, Leif Toudal Pedersen ; Betreuer: Georg Heygster." Bremen : Staats- und Universitätsbibliothek Bremen, 2018. http://d-nb.info/1169299059/34.
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Poensgen, Benedikt Johannes [Verfasser]. "Die Offiziumskompositionen von Alessandro Scarlatti / Benedikt Johannes Poensgen." 2005. http://d-nb.info/976764377/34.
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Damuth, Laura. "Alessandro Scarlatti's cantatas for soprano and basso continuo, 1693-1705." 1993. http://catalog.hathitrust.org/api/volumes/oclc/32583604.html.
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Gonzales, Kayla. "Romance in the music of Obradors, Schubert, Gordon and Scarlatti." 2018. http://hdl.handle.net/2097/38925.
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Master of MusicDepartment of Music, Theatre, and Dance
Major Professor Not Listed
This report is extended program notes that focus on romantic selections from four composers, prepared for a graduate vocal recital, completed in partial fulfillment of the requirement for the Master of Music degree. The recital was held April 25, 2017 at seven-thirty in the evening at Kirmser Hall on the campus of Kansas State University. The selections for this recital were chosen for their portrayal of the theme romance. The four composers selected for this report are Fernando Obradors, Franz Schubert, Ricky Ian Gordon and Alessandro Scarlatti. Each chapter will include biographical information on each composer, a textual analysis, as well as stylistic and technical considerations one must consider for the songs researched in this document. Romance is a topic that has often inspired composers and writers. This paper focuses on “romance” as a topic, which has been the focus of music for centuries. In vocal literature, a theme of romance can create an immediate connection to the listener as it is a topic that all genders can relate to.
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Oliveira, Miguel de Laquila. "Transcrição e performance na guitarra das sonatas de Domenico Scarlatti." Doctoral thesis, 2019. http://hdl.handle.net/10773/27525.
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A presente tese busca investigar as diferentes concepções interpretativas na guitarra das sonatas de D. Scarlatti e as particularidades dos cordofones barrocos. Apresenta uma proposta interpretativa, orientada pela construção de uma versão idiomática das peças à guitarra clássica. O aprofundamento da compreensão sobre os elementos técnico-musicais da guitarra barroca, das distintas perspectivas interpretativas, assim como a observação dos processos utilizados na adaptação das sonatas à guitarra, embasou e inspirou o desenvolvimento de uma interpretação e a realização das transcrições. A sistematização destes conhecimentos busca a ampliação do leque de escolhas e a expansão das possibilidades expressivas da obra de Scarlatti à guitarra.The present thesis seeks to investigate the interpretive conceptions on the guitar of D. Scarlatti sonatas and the particularities of the baroque chordophones. It presents an interpretative proposal, oriented by the construction of an idiomatic version of the pieces to the classical guitar. The understanding of the technical-musical elements of the baroque guitar, of the different interpretive perspectives, as well as the observation of the processes used in the adaptation of the sonatas to the guitar, supported and inspired the development of an interpretation and of the transcriptions. The systematization of this knowledge seeks to expand the range of choices and the expansion of the expressive possibilities of Scarlatti's work at the guitar.
Programa Doutoral em Música
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Pan-Yan, Qian-Fei, and 潘閻芊翡. "The Analysis and Interpretation of Five Keyboard Sonatas by Domenico Scarlatti." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46938856938624038002.
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碩士台南科技大學
音樂研究所
98
In 1685, three great composers were born. In addition to the well-known J. S. Bach and Händel, there was also one composer—Domenico Scarlatti, who had composed 545 keyboard sonatas. Although Scarlatti was not born in Spain, his keyboard sonatas are filled with Spanish ethnic style. Guitar music is especially an important factor in his compositions— throughout his life. Furthermore, in his sonatas, D. Scarlatti utilized many keyboard techniques and skills that had almost surpassed the capacity of the harpsichord at that time, in which the gamut and the skill of harpsichord playing could be explored to an extreme, for example, long-distance jumping with hand-crossing, quick hand alternations during fast passages, repeating the same note swiftly, etc. In contemporary piano playing, such skills remain essential for advanced piano players, also the prerequisite skills for all the players. In the 18th Century, suites consisting of several pieces of dance music prevailed. However, Scarlatti titled his compositions as sonatas. As for the reason, by analyzing Scarlatti’s unique compositional methods, and musical forms in his sonatas, and compare them with 18th Century keyboard and violin suites, the author wishs to understand whether there is any correlation between his sonatas and the suites commonly-composed at that time in Baroque Period. The five keyboard sonatas by Scarlatti studied in this report are: “L. 413/ K. 9”, “L. 108/ K. 213”, “L. 422/ K. 141”, “L. 449/ K. 27”, and “L. 465/ K. 96”. These sonatas include many Spanish guitar music characteristics as well as the more difficult playing skills. Through formal analysis and the exploration of performance interpretation, these aspects can be better understood.
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Liu, Chien-Pi, and 劉千碧. "Scarlatti Cantata《Solitudine avvenne, apriche colli'notte》and Meyerbeer Opera( Dinrah )Aia《Ombre Legere》." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/87361262673819255041.
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Houg, Yin chi, and 洪瑩綺. "From Baroque to Twenty Centry - analysis of music by Scarlatti、 Beethoven、Chopin and Barber." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/36813468406802381034.
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CAI, XIAWEI, and 蔡夏微. "A Study on the Style in the Keyboard Sonatas by Domenico Scarlatti (1685-1757)." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/x86939.
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碩士東吳大學
音樂學系
107
The composer Domenico Scarlatti (1685-1757) who created 555 keyboard sonatas, opened up a new path for later composers with the advanced sense of innovation in the development of Western music history. D. Scarlatti pushed the creation and performance of keyboard music to a new level. This dissertation conducts a comprehensive and systematic analysis of the style, performance skills and music structure of the unique music language of D. Scarlatti's keyboard sonatas. This dissertation consists of five chapters. The first chapter, "introduction", introduces the research object, scope, method, motivation and purpose of this dissertation, as well as relevant literature discussion. The second chapter, "an overview of D. Scarlatti’s life and music", this chapter studies D. Scarlatti's family, court position and music cultural environment experience in different countries to understand D. Scarlatti's living background and early music education and deduce the objectivity of his keyboard sonata style. The third chapter, "creative origin", studies and classifications the creative origin of D. Scarlatti sonatas, traces the possible sources of style, and analysis the overall style characteristics of his sonatas to promote the indepth understanding of his works. The fourth chapter, "music structure and performance skills", focuses on the analysis of his harmonic application, in terms of musical structure, as well as the characteristics of performance skills and the teaching significance of his sonatas. This chapter is an important part of D. Scarlatti's sonata style. The fifth chapter "conclusion", this chapter is to summarize the full dissertation. Based on the overall analysis and research of D. Scarlatti sonatas, this dissertation discusses the music style of D. Scarlatti sonatas by focusing on the technical characteristic and structure of D. Scarlatti sonatas, and tries to make some contributions to the research of D. Scarlatti sonatas.
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Soares, Luís Filipe da Silva. "A religião da crítica: o contributo de Eduardo Scarlatti para a crítica do teatro nos anos 30." Master's thesis, 2014. http://hdl.handle.net/10451/18339.
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Eduardo Scarlatti (1898-1990), crítico e teórico do teatro português, contribuiu de forma marcante para a actualização da prática dramática entre 1925 e 1945. Este trabalho analisa a sua produção teórica e crítica, relacionando-os com a época da ascensão e consolidação do Estado Novo. Englobando as várias obras do autor, esta análise centra-se sobretudo em A Religião do Teatro, onde debateu a teoria de Friedrich Nietzsche em A Origem da Tragédia, como proposta de regeneração do teatro, e no conjunto das suas críticas de espectáculos publicadas no jornal O Diabo.
Embora os seus escritos sejam frequentemente citados por investigadores que estudam a época, a obra de Scarlatti, em si, permanecia até hoje sem investigação. Devido a uma exiguidade da documentação biográfica, este estudo procura identificar e descrever as ideias principais do autor, no que concerne ao diagnóstico que faz ao teatro do seu tempo, assim como as soluções que propõe com vista a uma reforma. Procura ainda traçar uma relação entre estas ideias e o ambiente de repressão ao livre-pensar que então se viveu.
Pretende-se também demonstrar que o autor viu como maiores problemas do teatro a intromissão do científico e a influência do ultra-romantismo, foi contra a proposta do fim da palavra e do autor, e procurou a harmonia entre um teatro de ideias e um teatro trágico. Nessa forma de drama e na figura do génio artístico depositou a esperança de uma regeneração social.ABSTRACT: Eduardo Scarlatti (1898-1990), critic and theorist of the portuguese theatre, contributed prominently to the actualization of the dramatic practice between 1925 and 1945. This work analyses his theoretical and critic production, relating it with the epoch of the rising and consolidation of Estado Novo. Encompassing the author’s several works, this study centers itself mainly in A Religião do Teatro (The Religion of Theatre), where he debated Friedrich Nietzsche’s theory of The Birth of Tragedy, as a proposal of theatre’s regeneration, and in the bulk of his critics published in the newspaper O Diabo. Although his writings are often quoted by researchers studying the period in question, Scarlatti’s work remained itself unresearched. Due to an exiguity of biographical documentation, this study sought to identify and describe the author’s main ideas, regarding the diagnosis he makes of his time’s theatre, as well as the solutions he propounds with a view to a reform. It searches, still, to draw a relation between these ideas and the then lived environment of repression to free-thinking. Furthermore, it is intended to demonstrate that, as the biggest problems of theatre, the author saw the intrusion of the scientific and the influence of ultra-romanticism, he was against the proposal of the end of word and author, and sought the harmony between a theatre of ideas and a tragic theatre. In this form of drama, and in the figure of the artistic genius, he placed the hope of a social regeneration.
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Fang, I.-Ching, and 方奕晴. "An Analysis and Interpretation of Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano by Marcel Bitsch." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/u8wj7t.
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碩士國立臺南藝術大學
鋼琴合作藝術研究所
103
Marcel Bitsch (1921-2011) is a French composer in the 20th Century. He wrote a number of compositions for wind instruments and published books on theory of harmony, which bring significant impact on the areas of the wind instrument repertoire and the harmonic theory in modern music. Bitsch completed “Quatre Variations sur un Thème de Domenico Scarlatti pour Trumpet et Piano” in 1950. The composition contains one theme and four variations, in which the theme was derived from Domenico Scarlatti‘s “Sonata in D Major, K. 21” (1739). Bitsch varied the Baroque theme with modern harmonies and rhythms thus the style and character related to Neo-Classicism. The trumpet and the piano imitate and draw echoes toward each other throughout the entire composition. This thesis consists of three chapters. The first chapter, an overview of “Quatre Variations sur un Thème de Domenico Scarlatti” will be provided, including Bitsch’s biography, the background of his work, and the character of “Sonata in D Major, K. 21”. The second chapter is the analysis that how Bitsch used the theme of “Sonata in D Major, K. 21”, and the correlations between the theme and each variation in “Quatre Variations sur un Thème de Domenico Scarlatti”. In the third chapter, suggestions for performing this piece are given from the perspective of a collaborative pianist.
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Breidenbaugh, Kenneth. "Opera seria and late Baroque Venetian forms in scenografia, quadratura, and narrative fresco painting Alessandro Scarlatti, Ferdinando Bibiena, Gerolamo Mengozzi-Colonna, and Giambattista Tiepolo /." 1995. http://catalog.hathitrust.org/api/volumes/oclc/43720969.html.
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Huang, Tzu-Ping, and 黃紫萍. "A Study of Domenico Scarlatti’s Six Keyboard Sonatas." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/54363959814989578129.
Full textAbstract:
碩士台南科技大學
音樂研究所
98
More than five hundred keyboard sonatas composed by Domenico Scarlatti during his whole life played a decisive role in his artistic creation career, and the originality of the compositions has profound influence in the development of the keyboard music history later on. Scarlatti took on a position as a keyboard teacher of Portugal princess, Maria Barbara, and composed a large quantity of keyboard compositions for instructing. In 1728, the princess moved to live in Spain as she married with Spanish prince, and Scarlatti was accompanied by the princess. In spite of being an Italian, Scarlatti was influenced gradually with the life in Spain and then integrated the national characteristic of Spanish into his music style spontaneously. He presented a unique music style both in application of harmony and technique performance, and also explored the new field in keyboard music then. In this study, it will present the background and experience of Scarlatti’s lifetime so as to explore the composer’s creative style and skill in field of keyboard, guide to comprehend the inner implications of the compositions through analyzing six keyboard compositions completely, and finally, express my interpretation and opinions at the end of the study.
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Matos, Miguel Pedro Quadrio Ferro de. "Dispositivo crítico : condições de possibilidade da crítica jornalística de teatro em Portugal." Doctoral thesis, 2014. http://hdl.handle.net/10400.14/16696.
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Em Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal
problematiza-se o lugar da crítica de teatro no interior do polissistema teatral português.
Tal programa baseou-se na hipótese de que a crítica jornalística de teatro não encontrou ainda,
entre nós, uma inserção adequada nos Estudos de Teatro, sendo vulgarmente sujeita ou à total
omissão ou a uma utilização pontual e difusa, que se tem concretizado através de uma estratégia
paradoxal de (sub)figuração, v.g., a ela se recorre como exemplo ‘autorizado’, ao mesmo tempo
que a sua citação truncada – por conveniência do argumento que deveria ilustrar – não só a descontextualiza
do seu continuum cultural e ideológico, como inviabiliza, também, a aferição da relevância
sistémica que a mesma assumira à data da publicação.
Desta desqualificação da crítica jornalista resultam duas consequências ponderosas: o
enfraquecimento do espaço público, afectado pela exclusão de uma das práticas que o vem constituindo
desde o século XIX; e a rasura da memória performativa, fonte indispensável para a escrita
de uma efectiva, que não apenas literária, história do teatro.
Para tornar sustentável a visibilidade da crítica jornalística propõe-se, então, uma tese que se
desenvolve em duas vias. A primeira delas visa estatuir a crítica jornalística não apenas como um
epifenómeno, irrelevante porque transitivo, de provocação inconsequente da ordem sociocultural
instalada, mas, sobretudo, como possibilidade teórica que, para além das suas realizações concretas,
possui os instrumentos necessários para intervir na modelação do sistema teatral e, desse modo,
«contribuir para reforma de práticas e de ânimos» (cf. Leone, 2005a: 105). Tal desígnio impôs a
desconstrução do conceito de crítica (não somente de teatro), em cujo processo se determinam os
traços distintivos que permitem impor a noção de ‘crítica jornalística’, ponderando-se, ainda, os recentes
enquadramentos teóricos e metodológicos que a integraram no discurso académico (europeu
e norte-americano) como problema autónomo.
Assim firmada como questão pertinente, a ‘crítica jornalística’ é sujeita – na segunda via – à
sua experimentação no caso concreto da academia portuguesa, concluindo-se pela sua ‘extemporaneidade’.
Face aos resultados obtidos, ilustram-se as ‘condições de possibilidade’, estabelecidas na
primeira via, através do estudo da intervenção do crítico de teatro português Eduardo Scarlatti
(1898-1990) nas décadas de 20 e de 30 do século XX, nomeadamente quanto ao seu importante
contributo para uma discussão moderna do conceito de crítica (e, nele, de crítica de teatro).Critical Device: conditions of possibility in journalistic theatre criticism in Portugal (Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal) analyses the place of theatre criticism within the Portuguese theatrical polysystem. Such a programme was based on the hypothesis that journalistic theatre criticism hasn’t yet found an adequate insertion within Portuguese Theatre Studies, as it has been consistently subjected to either absolute omission or a punctual and diffuse use through a paradoxical strategy of (under-)figuration. That is, it is “allowed” as an example whilst its truncated quotation – for the convenience of the argument it should illustrate – not only decouples its practice from the cultural and ideological continuum, but also renders unachievable the measurement of the systemic relevance it assumed at the time of its original publication. This disqualification of journalistic criticism has two important consequences: the weakening of public space, affected by the exclusion of one of the practices that has constituted it since the 19th century; and the erasure of performative memory, an indispensable source for writing an effective history of theatre that isn’t simply literary. In order to achieve a sustainable visibility of journalistic criticism the dissertation follows two strategies. First, it aims to define journalistic criticism not as an irrelevant and transient epiphenomenon – an inconsequential provocation of the installed sociocultural order – but, instead, as a theoretical possibility that, in addition to its tangible achievements, also possesses the necessary tools to intervene in modelling the theatrical system and, thereby aims to, “contribute to a reform of practices and moods” (Leone, 2005a: 105). Such an enterprise implies a deconstruction of the concept of criticism (not merely in its theatrical vent) in order to determine the distinctive traits that allow for the notion of “journalistic criticism,” whilst also considering the recent theoretical and methodological frameworks that have enabled its integration in (European and North-American) academic discourse as a stand-alone problem. Secondly, and after having been established as a pertinent question, “journalistic criticism” is examined in the context of Portuguese academia, from where it emerges with a mark of “extemporaneity.” Given the obtained results, the “conditions of possibility” established beforehand are then illustrated through a study of the intervention of the Portuguese theatre critic Eduardo Scarlatti (1898-1990) during the 1920s and 1930s, particularly with regard to his important contribution to a modern discussion of the concept of criticism (and, within it, of theatre criticism).
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Yeh, Pin-I., and 葉品誼. "An Exploration and Teaching Application of Domenico Scarlatti’s Piano Sonatas." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/rkkqs2.
Full textAbstract:
碩士台南應用科技大學
音樂系碩士班
106
Domenico Scarlatti (1685-1757) was noted particularly for his 555 piano sonatas, which had firmly established his exceptional presence in the Baroque period. Scarlatti was one of the most multi-stylistic and creative composers of the day. His works consist of various musical styles and genres. He also developed unique techniques of imitating other instruments’ sound and performing, which were different from contemporary performing mechanism. For example, he employed the movement of arm into piano performance. He also applied the rhythm of dance music in his compositions. Moreover, he was the precursor who developed the original Sonata form. These were his features as a composer who quite different with others.These features render him a unique composer from others at that time. This dissertation explores the historical background of Scarletti’s piano sonatas, and the result of this study can be a further model for the application of teaching. Scarlatti experienced Baroque and Pre-classic period. The experiences of Scarlatti during these two periods had had a profound effect on the musical styles and performance techniques of his 555 piano sonatas. Scarlatti laid the groundwork of his composition in the Baroque period. However, his 555 piano sonatas were created in the Pre-classic period, which were the essence of his lifetime works and also explained why his sonatas were mostly homophonic. Scarlatti’s sonatas are so varied in their forms and styles, which were highly influenced by Italian folk tunes and Spanish and Portuguese exotic dance rhythms at that time. Aside from his many sonatas, Scarlatti composed a number of Madrigals and the Fugues.form was frequently seen in his music. Besides, it is obviously to perceive that Scarlatti favored dance rhythms. Of the 555 Scarlatti sonatas nearly 400, principally running in triple meter and hexa meter, are created in the form of dance rhythm and mostly expressed in the tempo of Allegro and Allegro Vivace. Although Scarlatti sonatas were addressed “sonata” by scholars, they could be as the original form of sonata and the pioneer of the form of etude. His works inspired the successors with the concept of etude, which had made him become one of the most important composers in the history of art music. Scarlatti developed many groundbreaking techniques in piano sonata to pursuit the perfection of music and satisfy the need of auditory and visual modality, such as imitating other instruments’ sound and performing skills. He explored virtuoso technique in these sonatas, employing devices such as, big skip, hand-crossing, running scale and running thirds, sixths, and octaves, etc. It was remarkable innovation compared to contemporary performing mechanism, which was restricted only to local movement of forehands. Therefore, teachers can choose Scarlatti sonatas as teaching materials before introducing Romanticism repertoire to students. Scarlatti sonatas are rich in quantity and can be graded on the basis of the degree of performance difficulty. According to the ranking standard proposed by the book “Pianist’s Guide to Standard Teaching and Performnce Ltrture”written by J. Magrath, the researcher of this study tried to grade Scarlatti’s 555 sonatas into several classes. The researcher has found out that most of Scarlatti’s sonatas fall between 7th to 10th grade and only a few fall in 3rd grade. Finally, the researcher adopt Scarlatti’s work K. 24 and K. 239, which varied in technique, performance degree, and musical style, as further applications and models for teaching.