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485838 Vol1.Pdf Contrapuntal and Keyboard Idioms in the Artificioso Collection (1641) of Giovanni Pietro Del Buono Volume I Aikaterini Michopoulou Submittedin partial fulfilment of the degreeof Doctor of Philosophy Departmentof Music University of York March 2006 Acknowledgments I would like to expressmy sincereappreciation to my supervisorDr. Peter Seymour, for his help and guidancein the completion of this project. I would also like to thank Dr. JonathanWainwright and Dr. David Smith for their commentsregarding some of the ideas examinedin this thesis. I am grateful to Dr. Miranda Kaldis and Giulio Gramegnafor their constanthelp and support. Abstract Abstract Music in the early seventeenthcentury is markedby importantstylistic changes. The co-existenceof the art of 'strict' counterpointand of the evolvementof the traits of the stile modernoand the experimentationresulting from Vicentino'stheories con- stitutesa compositephenomenon in regardto music in southernItaly. Giovanni Pietro Del Buono is one of the composerswho incorporatesand mergesall the aboveelements in a very artful and fascinatingcollection of seventy-twocanons; twelve oblighi and fourteensonatas, all basedon the hymn Ave Maris Stellawhich is usedas a cantusfirmus. The conceptof artificioso compositions,which depictsmusic as an art with an important intellectual side, reflects the scientific development and supremacy of intellectual culture in the seventeenth century. Many collections containing pieces composed with particularly complex compositional techniques appeared at that time. In the present thesis a collection so far overlooked is examined and conclusions are drawn concerning Del Buono's particular compositional idiom. An analytical ac- count of the canons and oblighi proves that. they are not only products of the stile antico and of the Roman school, but have influences from both the traits of the stile moderno and the Neapolitan musical idiom. A detailed account is provided of some of the sonatas, revealing techniques related to hexachordal theory and Vicentino's theories concerning chromaticism. Also proved is the fact that the manuscript con- taining the resolutions of the canons and oblighi is not an original manuscript by Del Buono, as scholars have previously stated, but is, in fact, from a later date, written by an unknown scribe.In the second part of the thesis an edition is included of the whole collection in modem transcription. I Contents Contents Abstract I ........................................................................................................................................ Contents 2 ........................................................................................................................................ Perspectives Study 5 of the .............................................................................................................. PresentState Research 7 of ............................................................................................................. CHAPTER1 10 ....................................................................................................................................... GiovANNi PIETRO DEL BUONO: LIFE AND CULTURAL AssOCIATIONS 10 ............................................ Del Buono's Life 10 ......................................................................................................................... Del Buono's Dedication Preface 12 and ......................................................................................... Del Buono Cultural Associations 14 and ........................................................................................ Palermo 15 ...................................................................................................................................... Naples 17 ......................................................................................................................................... ARTIFICIOSOCOMPOSITIONS 20 ........................................................................................................... The Concept Compositions 20 ofArtificioso ................................................................................... Ave Maris Stella 26 ......................................................................................................................... CHAPTER 2 28 ....................................................................................................................................... THE 1641 EDITION MANUSCRIPT 28 AND THE ..................................................................................... The 1641 Edition 28 ....................................................................................................................... The Manuscript 31 ......................................................................................................................... Symbols 37 ...................................................................................................................................... Accidental Practices Occurring in the 1641 Edition the Manuscript 38 and ................................. Inconsistencies between the Edition the Manuscript 44 and .......................................................... CHAPTER 3 45 ....................................................................................................................................... PERFORMANCEMEDIA IN DEL BUONO'SCOLLECION 45 ...................................................................... Performance 45 ofcanons and oblighi ........................................................................................... Performance the Sonatas: About di 49 of cimbalo .......................................................................... CHAPTER 4 51 ..................................................................................................................................... .. DELBUONO'S CANONS 51 .................................................................................................................... TheConcept of Canonin Italian MusicTheory ofFifteenth and Early SixteenthCenturies..... 51 Canonin Italian MusicTheory LateSixteenth SeventeenthCenturies 58 of the and ...................... TheCanons Buono 61 ofDel .......................................................................................................... Con 63 qualchestravaganza ........................................................................................................... FormalDesign Texture 63 and ........................................................................................................ 2 Contents Entries Canonic Voices 64 of .......................................................................................................... ThematicTreatment Motivic Development 65 and .......................................................................... TheThree-Part Canons 73 .............................................................................................................. The Four-part Canons 76 ................................................................................................................ The Five, SixýSeven Eight-part Canons 78 and .............................................................................. Melodic Patterns 81 ........................................................................................................................ UnusualMelodic Patterns 83 .......................................................................................................... Chromatic Clichis 84 ...................................................................................................................... CanonsConstructed SpecifiedTechniques 87 with ......................................................................... Canon 2 l'obligo di di 88 no. con non caminar grado ......... .......................................................... Hexachordal Inversion 88 ..................................................... .......................................................... Canons in Simple Melodic Inversion 91 ................................ .......................................................... Puzzle Canon 92 .................................................................... .......................................................... Canons Free Contrapuntal Line 95 with a ............................ .......................................................... Duplication the Voices in Thirds Tenths 96 of and ............... .......................................................... Pieces Constructed by More than One Canon 98 ................. .......................................................... Triadic Progressions Chords 99 and .............................................................................................. Chromaticism 102 ........................................................................................................................... Contrapuntal Features 104 ............................................................................................................. CHAPTER 5 108 ...................................................................................................................................... DEL BUONO'S OBLIGHI 108 .................................................................................................................. Obligho: Concept Terminology 108 and ........................................................................................
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