Universi^ International

INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Universi^ Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 8505919 Trott, Donald Lee PATTERNS OF ACCENTUATION IN THE CLASSICAL STYLE AS SUPPORTED BY PRIMARY SOURCES AND AS ILLUSTRATED IN THE LATE MASSES OF FRANZ JOSEPH HAYDN The University of Oklahoma D.M.A. 1984 University Microfilms Internetionel SOO N. zeeb Road, Ann Arbor. Ml 48106 Copyright 1984 by Trott, Donald Lee All Rights Reserved PLEASE NOTE; In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark__ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print_____ 3. Photographs with dark background_____ 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages )/ 8. Print exceeds margin requirements_____ 9. Tightly bound copy with print lost in spine___ 10. Computer printout pages with indistinct print. 11. Page(s)___________ lacking when material received, and not available from school or author. 12. Page(s)___________ seem to be missing in numbering only as text follows. 13. Two pages numbered___________ . Text follows. 14. Curling and wrinkled pages______ 15. Other ___________________________________ _ _______ _ _____________ __________ University Microfilms International THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PATTERNS OF ACCENTUATION IN THE CLASSICAL STYLE AS SUPPORTED BY PRIMARY SOURCES AND AS ILLUSTRATED IN THE LATE MASSES OF FRANZ JOSEPH HAYDN A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By DONALD LEE TROTT Norman, Oklahoma 1984 PATTERNS OF ACCENTUATION IN THE CLASSICAL STYLE AS SUPPORTED BY PRIMARY SOURCES AND AS ILLUSTRATED IN THE LATE MASSES OF FRANZ JOSEPH HAYDN A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC Dr. Dennis Shrock, Chairman Dr. Gail deStwolinski Dr. Eugme Enrico Dr. Alan Ross Dr. Irvin Wagner \l f » -if * ^ Dr. Herbert Hengst © 1984 DONALD LEE TROTT ALL RIGHTS RESERVED ACKNOWLEDGEMENTS The author would like to gratefully acknowledge Dr. Dennis Shrock for his high standard of scholarship and considerable input contributed to this document. His nine years of teaching and guidance have been the greatest influence and inspiration on my musical career. More importantly he is a highly valued friend. The writer also wishes to express his sincere appreciation to the committee. Dr. Gail deStwolinski, Dr. Eugene Enrico, Dr. Alan Ross, Dr. Irvin Wagner, and Dr. Herbert Hengst for their valuable help in this document and their support in the pursuit of my degree program. Indebtedness that cannot be expressed in words is extended to my parents for their devoted attention. A debt of gratitude is also expressed to Jane Littleton for her translations, to Jean Spray for typing the document, to Alice Shay for her help in word processing, and to Christopher Munn for reading the document. A special thanks is given to my friends and colleagues who also helped in my degree pursuit. The author is greatly indebted to G. Henle Verlag for granting permission to use excerpts from the Henle edition of the Haydn Complete Works. ABSTRACT PATTERNS OF ACCENTUATION IN THE CLASSICAL STYLE AS SUPPORTED BY PRIMARY SOURCES AND AS ILLUSTRATED IN THE LATE MASSES OF FRANZ JOSEPH HAYDN BY: DONALD TROTT MAJOR PROFESSOR: DR. DENNIS SHROCK This document concerns itself with aspects of late eighteenth- century performance practice, most notably, accentuation. The aspect of eighteenth-century style that is often neglected in twentieth-century performances is the use of proper accentuation, which should be an inte gral part of eighteenth-century performances. In Chapter One an introduction to the development of accentuation up to the late Baroque period is given. This history is traced using two elements which have affected accentuation since the ancient Greek period, namely, the arsis-thesis concept and the principles of poetic meters. Chapter Two presents primary source descriptions of accentuation by thirty-six eighteenth-century theorists. From these descriptions the reader will gain an understanding of the importance placed upon the proper realization of accentuation in eighteenth-century performance. In Chapter Three situations of accentuation and various circum stances which affect accentuation are given. The six late Masses of Franz Joseph Haydn are used as explicit examples. The last chapter provides a conclusion as to why certain aspects of eighteenth-century performance practice are no longer adhered to in twentieth-century performances. This chapter further states the need for twentieth-century performers and scholars alike to read the treatises of the Eighteenth Century in order to obtain the information necessary to perform eighteenth-century music in a historically correct manner. PREFACE Chapter I will be devoted to a survey of the history of accentu ation from the ancient Greek period to the early Baroque. In order to keep chronological sequence, the Romantic and Contemporary periods will be presented in Chapter IV. The information presented is based upon primary sources and will be traced primarily through the concepts of arsis-thesis and poetic rhythms, since throughout history these were the major influences on the implementation of accentuation. For the purposes of this paper, the time periods in Chapter I are grouped as follows: 1. Pre-Medieval ( -1100) 2. Medieval (1100-1400) 3. Renaissance (1400-1600) 4. Early Baroque (1600-1700) 5. Late Baroque, Style Galant, Classical (1700-1840) 6. Romantic (1840-1900) 7. Contemporary (1900- ) From Chapter I the reader will gain an understanding of what the essential qualities of accentuation were to the musicians from the ancient Greek period to the early Baroque, and how they developed. Chap ter I will begin with a comparison of the meanings of accent as found in two dictionaries, one from the Eighteenth Century and one from the Twenti- eth Century. From this, the reader will see that the eighteenth-century meaning of metric accent is no longer standard in the Twentieth Century. In Chapter .1, an indepth study of eighteenth-century accentuation will be presented with an emphasis on the Classical period. Chapter III will be concerned with the implementation of accentuation as it occurs in the late Masses of Haydn. Chapter IV is a conclusion to the document presenting the reasons why the practice of eighteenth-century accentuation was no longer adhered to in the Romantic and Contemporary periods. t a b l e OF CONTENTS ACKNOWLEDGEMENTS .......................................... iv ABSTRACT .................................................. v PREFACE ................................................... vi CHAPTER I. THE EVOLUTION OF ACCENTUATION........................... 1 Definition .......................................... 1 Pre-Medieval Period ................................. 3 Medieval Period ..................................... 7 Renaissance ......................................... 10 Early Baroque ....................................... 14 II. EXPLANATION AND DESCRIPTIONS OF ACCENTUATION ACCORDING TO PRIMARY SOURCES...................................... 17 Introduction........................................ 17 Treatises of the Late Baroque........................ 33 Wolfgang Casper Printz....... 33 George Muff at ................................... 35 Johann Mattheson................................ 37 Jacques

Load more