Rappresentatione Rappresentatione
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
Fellowship of Makers and Restorers of Historical Instruments
FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. APRIL 1977 PAGE Bulletin no. 7 2 Communications 55 Reports on FoMRHI Seminars; No.l P.Syrus, No.2 J. .Montagu 13 56 FoMRHI Book News Jeremy Montagu 15 57 Renaissance Transposing Keyboard Instruments II Nicolas Meeus 16 58 Jerome of Moravia Anthony Baines 24 59 The Names, String Lengths and Pitch Standards of Extended-Neck Lutes of the 17th Century Djilda Abbott and Ephraim Segerman 26 60 Instrument Rerearch Through Artist's Depictions Peter Ecker 33 60a Some Comments on Comm. 60 Jeremy Montagu 34 61 Detection of Reinforcing Bars in Instruments Gordon Wood 35 62 Bending Irons Donald Garrod, Djilda Abbott and Arthur Young 36 63 On Measurers of Instruments in Museums Ephraim Segerman and Djilda Abbott with comments from Jeremy Montagu 38 64 Freighting Instruments from the U.K. Richard Wood 43 40a In Defence of Com. 40 Ephraim Segerman 45 44b Detailed Comments on "Instruments of the Middle Ages and Renaissance" by David Munrow. Part II Ephraim Segerman 46 FoMRHI Com 61 continued from page 35 with the upper surface of the body a film of some sort has to be applied between the probe and the body. Grease and oil are cor_v.only used on metals, water has been used, so has wallpaper paste. For a musical instrument, almond oil might be acceptable, but it would be worth trying various devices - double sided adhesive tape - cork or rubber sheet if oil were unacceptable. FELLC'JSHIP of r'.KERS and RESTORERS of HISTORICAL TiVSTRU^NTS E'.llot-.in no.7 Apri3 , 1077 I hope that this type-face doesn't uoset you too much. -
International Journal of Education Humanities and Social Science
International Journal of Education Humanities and Social Science ISSN: 2582-0745 Vol. 2, No. 04; 2019 EARLY MELODRAMA, EARLY TRAGICOMIC Roberto Gigliucci Sapienza University of Rome Piazzale (Square) Aldo Moro, 5, Rome 00185, Italy [email protected] ABSTRACT This essay tries to demonstrate that the tragicomic blend, typical of Baroque Melodrama, has born much earlier than what is commonly believed. Just in the Jesuitical play “Eumelio” (1606) the hellish characters are definitely comical; a year later, in the celebrated “Orfeo” by Striggio jr. and Monteverdi, we think to find droll, if not grotesque, elements. The article ends considering the opera “La morte d’Orfeo” by S. Landi (1619), particularly focusing on the character of Charon. Key Words: Tragicomic, Melodrama, Orpheus’ myth. INTRODUCTION An excellent scholar as Gloria Staffieri, in a recent historical frame of Melodrama from its birth up to Metastasio, reaffirms a widespread statement: the “invention” of tragicomic blend in the Opera is due to Rospigliosi, during the Barberini age [1], starting from 1629 (Sant’Alessio) and developing increasingly during the Thirties [2]. A quite late birth, therefore, of the tragicomic element, which is universally considered one of the most identitarian – strongly peculiar – feature of Baroque Melodrama [3]. In our short speech, we would demonstrate that this fundamental trait of Operatic mood was born at the very inception of the genre itself. Rinuccini If we skip now the case of Dafne [4] (where Rinuccini puts himself in line with the experiment of satira scenica by Giraldi Cinzio, the Egle [5], with its sad metamorphic ending), we may consider Euridice as a happy ending tragedy. -
FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N. -
Missa Papae Marcelli: a Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi Da Palestrina and An
MISSA PAPAE MARCELLI: A COMPARATIVE ANALYSIS OF THE KYRIE AND GLORIA MOVEMENTS OF GIOVANNI PIERLUIGI DA PALESTRINA AND AN ADAPTATION BY GIOVAN NI FRANCESCO ANERIO Michael J. Moore, B.M.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Graham Phipps, Major Professor Frank Heidlberger, Committee Member Thomas Sovik, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Moore, Michael J., Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio. Master of Music (Music Theory), May 2006, 81 pp., 51 examples, 28 bibliographic references. My comparative analysis of Missa Papae Marcelli includes discussion about the historical significance of Palestrina’s contribution to church music reform with regard to Marcello Cervini’s reforms in church doctrine. The compositional techniques and adherence to clarity of text are important aspects of Palestrina’s music that have earned him the title “savior” of polyphonic music. The comparative analysis will begin with a detailed study of Palestrina’s compositional method including an examination of voice leading, text setting, and cadence types. These compositional techniques will be compared to Anerio’s 1619 adaptation of the Palestrina model. An examination of Anerio’s adaptation illustrates how changes in composition shift from a contrapuntal design with elided phrases to a harmonic design with regular phrase structures. Adaptive techniques include both borrowed and newly composed material. Borrowed material includes introductory statements and closing gestures; however, much of the body of each movement is altered and shortened. -
A C AHAH C (Key of a Major, German Designation) a Ballynure Ballad C a Ballynure Ballad C (A) Bal-Lih-N'yôôr BAL-Ludd a Capp
A C AHAH C (key of A major, German designation) A ballynure ballad C A Ballynure Ballad C (A) bal-lih-n’YÔÔR BAL-ludd A cappella C {ah kahp-PELL-luh} ah kahp-PAYL-lah A casa a casa amici C A casa, a casa, amici C ah KAH-zah, ah KAH-zah, ah-MEE-chee C (excerpt from the opera Cavalleria rusticana [kah-vahl-lay-REE-ah roo-stee-KAH-nah] — Rustic Chivalry; music by Pietro Mascagni [peeAY-tro mah-SKAH-n’yee]; libretto by Guido Menasci [gooEE-doh may-NAH-shee] and Giovanni Targioni-Tozzetti [jo-VAHN-nee tar-JO- nee-toht-TSAYT-tee] after Giovanni Verga [jo-VAHN-nee VAYR-gah]) A casinha pequeninaC ah kah-ZEE-n’yuh peh-keh-NEE-nuh C (A Tiny House) C (song by Francisco Ernani Braga [frah6-SEESS-kôô ehr-NAH-nee BRAH-guh]) A chantar mer C A chantar m’er C ah shah6-tar mehr C (12th-century composition by Beatriz de Dia [bay-ah-treess duh dee-ah]) A chloris C A Chloris C ah klaw-reess C (To Chloris) C (poem by Théophile de Viau [tay- aw-feel duh veeo] set to music by Reynaldo Hahn [ray-NAHL-doh HAHN]) A deux danseuses C ah dö dah6-söz C (poem by Voltaire [vawl-tehr] set to music by Jacques Chailley [zhack shahee-yee]) A dur C A Dur C AHAH DOOR C (key of A major, German designation) A finisca e per sempre C ah fee-NEE-skah ay payr SAYM-pray C (excerpt from the opera Orfeo ed Euridice [ohr-FAY-o ayd ayoo-ree-DEE-chay]; music by Christoph Willibald von Gluck [KRIH-stawf VILL-lee-bahlt fawn GLÔÔK] and libretto by Ranieri de’ Calzabigi [rah- neeAY-ree day kahl-tsah-BEE-jee]) A globo veteri C AH GLO-bo vay-TAY-ree C (When from primeval mass) C (excerpt from -
Forgotten Reality, Remembered Fiction, Production Values and Court Opera
INFORMATION TO USERS This manuscript has been repockiced frwn the mkdilrn master. UMI films the text directly ftom the original or copy submitted. Thus, some thesis and dissertation copies are in Merface, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Brdcen or indistinct print, cdored or poor quality illustrations and photographs, print Meedttrmugh, substandard margins, and impmper alignment can adversely affect reprodudion. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuirlg from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 FORGOTTEN mITY, REMEMBERED FICTION: PRODUCTION VALUES AND COURT OPERA, 1598-1608 Peter Eliot Weiss A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto O Copyright by Peter Eliot Weiss 1999 National Library Biblioth4que nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. -
Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio De’ Cavalieri
Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de’ Cavalieri Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Julius-Maximilians-Universität Würzburg Vorgelegt von Elam Rotem aus Basel 2015 Erstgutachter: Professor Dr. Andreas Haug Zweitgutachter: Professor Dr. Ulrich Konrad Drittgutachter: Professor Dr. Johannes Menke Tag des Kolloquiums: 14/11/2016 Acknowledgment This work came to light thanks to a common doctoral program of the University of Würzburg/Institut für Musikforschung and University of Applied Sciences and Arts Northwestern Switzerland (FHNW)/Musikhochschulen (Schola Cantorum Basiliensis and Hochschule für Musik). I would like to thank the Head of the Schola Cantorum Basilienis Prof. Dr. Thomas Drescher as well as my advisers Prof. Dr. Andreas Haug (Würzburg), Prof. Dr. Ulrich Konrad (Würzburg), and Prof. Dr. Johannes Menke (Basel) for their help and support throughout the work. 3 Contents Preface .......................................................................................................................................................... 5 Terminology, abbreviations, and comments ................................................................................................ 9 Chapter I – Introduction .............................................................................................................................. 11 1.1 Early basso continuo ........................................................................................................................ -
A Reexamination of Palestrinas Role in the Catholic Reformation
A Reexamination of Palestrinas Role in the Catholic Reformation by Edward Schaefer Meeting ofthe Council of Trent in Santa Maria Maggiore. Painted in 1633. The story of the 1565 meeting of Catholic church offi The first abuse of these singers arises from the fact that cials, during which Palestrina's Missa Papae Marcelli is alleged many of them do not even lmow one note from another, to have been heard and proclaimed to be the consummate as they say, and are in fact unskilled in any phase of music. example of an appropriate style of music for mass settings, is Therefore they teach through substitute assistants-a well documented. 1 Prior to this meeting, however, many course of action not without its derision and mockery discussions were held regarding the banning of polyphonic from the people. music from the Catholic church altogether. This article will The second abuse, coming from the first, is that they clarify the contributions of persons, in addition to Palestrina, do not care whether there are either corrected or un who might be credited for their part in having "saved church corrected musical books, even daring to use them (un music"2 and the polyphonic style. corrected books) in church. But since even one vowel, incorrectly written, is able to malce the sense of the words The State of Church Music and prayers perverse and heretical, ... those most during the Early Sixteenth Century important books which are accustomed to be used, which During the first half of the sixteenth century, the Catholic they call missals and breviaries, ought to be most carefully church struggled to correct rampant abuses-in areas ranging written and edited. -
The Role of the Lute in Sixteenth-Century Consorts: Evidence from Terzi's Intabulations Suzanne Court
Performance Practice Review Volume 8 Article 3 Number 2 Fall The Role of the Lute in Sixteenth-Century Consorts: Evidence from Terzi's Intabulations Suzanne Court Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Court, Suzanne (1995) "The Role of the Lute in Sixteenth-Century Consorts: Evidence from Terzi's Intabulations," Performance Practice Review: Vol. 8: No. 2, Article 3. DOI: 10.5642/perfpr.199508.02.03 Available at: http://scholarship.claremont.edu/ppr/vol8/iss2/3 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Instrumental Ensembles The Role of the Lute in Sixteenth-Century Consorts: Evidence from Terzi's Intabulations Suzanne Court Even though 16th-century instrumental sources offer little informa- tion regarding precise instrumentation or modes of performance, some sources do offer valuable, if incomplete, instruction. A case in point is Giovanni Antonio Terzi's two lute books of 1593 and 1599,1 which contain a number of rubrics, such as the following: * Intavolatura di Liutto, Accomodata con diversi passaggi per suonar in Concerti a duoi Liutti, & solo libro primo .. (Venice: Amadino, 1593). Facs. eds. by Antiquae Musicae Italicae Studiosi (Milan, 1966) and by Studio per Edizioni Scelte, sers. 45 (Florence, 1981). // Secondo libro de Intavolatura di Liuto . Nella quale si contengono Fantasie, Motetti, Canzoni, Madrigali Pass'e mezi, & Balli di varie, & diverse sorte .