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An Analysis of Performance Practice Trends in Recent Recordings Of Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 An Analysis of Performance Practice Trends in Recent Recordings of Tomás Luis De Victoria's O Magnum Mysterium, O Quam Gloriosum, O Vos Omnes, and Officium Defunctorum as Related to Historical and Contemporary Scholarly Literature Adam Gerhard Walter Luebke Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANALYSIS OF PERFORMANCE PRACTICE TRENDS IN RECENT RECORDINGS OF TOMÁS LUIS DE VICTORIA‟S O MAGNUM MYSTERIUM, O QUAM GLORIOSUM, O VOS OMNES, AND OFFICIUM DEFUNCTORUM AS RELATED TO HISTORICAL AND CONTEMPORARY SCHOLARLY LITERATURE By ADAM GERHARD WALTER LUEBKE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester 2010 The members of the committee approve the dissertation of Adam Gerhard Walter Luebke defended on April 21, 2010. __________________________________ André J. Thomas Professor Directing Dissertation __________________________________ Charles Brewer University Representative __________________________________ Kevin Fenton Committee Member __________________________________ Judy K. Bowers Committee Member The Graduate School has verified and approved the above-named committee members. ii Dedicated to my wife Sarah whose unwavering love, support, and encouragement made this possible iii ACKNOWLEDGEMENTS I would like to thank my committee members for the encouragement and guidance they have offered me during my graduate studies at Florida State University College of Music. Dr. André Thomas steered me in the direction toward the music I love, Renaissance choral music, and patiently challenged me to express confidence and diligence in my work. Drs. Kevin Fenton and Judy Bowers encouraged me to remain focused on the process so that the outcome would not become overwhelming. Dr. Charles Brewer guided me through many intricacies of Renaissance performance practice and provided clarity to the questions that emerged. I would also like to thank the many relatives, friends, colleagues and teachers who have provided ongoing support and affirmation throughout my educational endeavors. I have been fortunate to have exceptional mentors in my music career ranging from when I was a young boy to the present. Their consistent prodding and nurturing resulted in me becoming a choral educator. My family members and lifelong friends, particularly my colleagues at Florida State University, continue to encourage and challenge me to strive for excellence. Finally, my wife Sarah made untold sacrifices to help me achieve this goal. Her abiding love, dedication, and inspiration contributed immeasurably to this document. iv TABLE OF CONTENTS List of Tables ........................................................................................................................ vii List of Figures ........................................................................................................................ ix Abstract ........................................................................................................................ x 1. INTRODUCTION .................................................................................................................. 1 PURPOSES AND PROCEDURES .................................................................................... 1 Purpose of Study ................................................................................................................. 1 The Nature of Performance ................................................................................................. 2 Recordings as Performances ............................................................................................... 8 Tomás Luis de Victoria as a Case Study ............................................................................ 11 Methodology ....................................................................................................................... 13 2. MUSICAL COMPONENTS OF PERFORMANCE PRACTICE ......................................... 15 ENSEMBLE MAKE-UP .................................................................................................... 15 Ensemble Size ..................................................................................................................... 15 Types of Singers ................................................................................................................. 18 Instruments ........................................................................................................................ 20 PITCH LEVEL ................................................................................................................... 25 Singer‟s Vocal Range ......................................................................................................... 26 Clefs .................................................................................................................................... 28 Renaissance Descriptions.................................................................................................... 31 TACTUS, TEMPO, PROPORTION .................................................................................. 34 Tactus and Tempo ............................................................................................................... 35 Nature of Mensuration: Note Values, Signs, and Proportion ............................................. 37 VOCAL TIMBRE ............................................................................................................... 43 The Vocal Mechanism ........................................................................................................ 43 Renaissance Descriptions of Vocal Production .................................................................. 46 Vibrato ................................................................................................................................ 49 MELODIC EMBELLISHMENT AND IMPROVISATION ............................................. 52 Divisions ............................................................................................................................. 53 Graces ................................................................................................................................. 57 3. MUSICAL BACKGROUND – O MAGNUM MYSTERIUM,O QUAM GLORIOSUM, O VOS OMNES AND OFFICIUM DEFUNCTORUM ............................................................................................................... 62 Background of Motets......................................................................................................... 62 Brief Analysis: O magnum mysterium ................................................................................ 63 v Brief Analysis: O quam gloriosum ..................................................................................... 65 Brief Analysis: O vos omnes ............................................................................................... 68 Background of Officium defunctorum ................................................................................ 69 Brief Analysis: Officium defunctorum ................................................................................ 70 4. CASE STUDY ........................................................................................................................ 79 Ensemble Make-up ............................................................................................................. 79 Pitch Level .......................................................................................................................... 82 Tempo ................................................................................................................................. 85 Vibrato ................................................................................................................................ 96 Melodic Embellishment ...................................................................................................... 99 5. RECOMMENDATIONS FOR PERFORMANCE OF RENAISSNCE MUSIC ......................................................................................................101 Authenticity ........................................................................................................................101 Musical Elements ................................................................................................................103 Conclusions ........................................................................................................................112 APPENDICES A ALPHABETICAL DISCOGRAPHY UNDER CONDUCTOR‟S LAST NAME ..................................................................................115 B ENSEMBLE MAKE-UP DATA ..................................................................................120 C STARTING PITCH DATA ..........................................................................................128 D TEMPO DATA .............................................................................................................136 E VIBRATO DATA .........................................................................................................148 F MELODIC EMBELLISHMENT DATA .....................................................................155
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