DOCSLIB.ORG

DOUBLE BASS PEDAGOGY and PERFORMANCE in Partial

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DOUBLE BASS PEDAGOGY and PERFORMANCE in Partial An Historical Survey of Double Bass Pedagogy and Performance Item Type text; Dissertation-Reproduction (electronic) Authors Boyd, Joseph Thomas Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 09:28:22 Link to Item http://hdl.handle.net/10150/624708 AN HISTORICAL SURVEY OF DOUBLE BASS PEDAGOGY AND PERFORMANCE by Joseph Thomas Boyd A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 78 THE UNIVERSITY OF ARIZONA SCHOOL OF MUSIC ï hereby recommend that this document prepared under my direction by JOSEPH THOMAS BOYD entitled AN HISTORICAL SURVEY OF DOUBLE BASS PEDAGOGY AND PERFORMANCE be accepted in partial fulfillment of the degree Doctor of Musical Arts. k )/44.-4 -2-F/ 11'78' Dr. Gordon Eppez Date Major Professor After reading this final copy of the document indicated above, the following members of the Final Examination Committee concur in its approval and recommend its acceptance: Professor John Fer 1 Professor Theodorà Mc1rillan Date of Final Examination 'a281 1978" PREFACE This document was written in preparation for a Lecutre Recital presented in the School of Music at the University of Arizona on September 30, 1977. It was not intended to be a lengthy discourse on the pedagogy and performance practices of the double bass, but rather as a summary of the research for that recital. Without the patient guidance of the author's major and minor professors, Dr. Gordon Epperson (Performance) and Dr. 0. M. Hartsell (Music Education), this paper could not have been possible. Special thanks also must go to fellow bassists and students Karla Ann Philipp and Judith Ann Mucciolo for their great assistance in gathering information necessary to make this a successful venture. Thanks to all! March, 1978 J. Thomas Boyd iii TABLE OF CONTENTS Page PREFACE iii 1. PEDAGOGY 1 Introduction t . 1 Introduction of the Individual Method Books . 2 1. NEW METHOD FOR THE DOUBLE BASS by Franz Simandl 2 2. NUOVO METODO PER CO NTRABBä SSO by Isaia Bille. 3 3. METHODE COMPLETE POUR LA CONTRABASSE by Edouard Nanny 4 4. DOUBLE BASS METHOD by Ludwig Streicher 6 5. OTHER METHOD BOOKS 9 II. PERFORMANCE 13 Introduction. 13 Discussion of Three Important Bassists 15 1. DOMEI`TICO DRAGONETTI (1763- 1846) . 15 Works for Double Bass . , . 18 2. GIOVANNI BOTTESINI (1821 -1889) 19 Works for Double Bass 22 3. SERGE KOUSSEVITZKY (1874 -1951) 23 Works for Double Bass 27 BIBLIOGRAPHY 28 iv I. PFnAGOGY In the field of double bass pedagogy, method books play an important part in the development of any bassist. There have been so many method books written in the past two hundred years, but most of those books have now become for the most part obsolete or hard to find. Four method books seem to rise above all others in content and quality for the average bass player. These books are as follows: NEW METHOD FOR THE DOUBLE BASS Franz Simandl NUOVO METODO PER CONTRABBASSO Isaia Bille METHODE COMPLETE POUR LA CONTRABASSE Edouard Nanny DOUBLE BASS METHOD Ludwig Streicher In the order presented above, these fine books would make an excellent course of study for any serious bassist. In the following pages, a comparison of these four methods will be made, showing the advantages and /or disadvantages of each. The practical application of these books will be mentioned by the author, whose opinions are used to formulate this document. It should be pointed out that each of the four method books mentioned above involves two or more volumes; therefore, the volume used for each book discussed in this document will be specified in the following comparison. After the comparative study of the four methods will be a list of methods currently unavailable or out -of- print. 2 INTRODUCTION OF THE INDIVIDUAL METHOD BOOKS NEW METHOD FOR THE DOUBLE BASS Franz SImandl This method book, being in two volumes, comes with German and English text. This is one of the finest works obtainable today, the contents being excellent and used by many leading teachers today. The second book deals with thumb position and advanced techniques. In the early edition the second part of the method was obtainable in separate smaller sections. The thumb jumping in the higher positions is the only general fault player will find it easier to move across the strings and keep notes under the hand than to skip up and down the strings as indicated. Book One of this method is beautifully divided into sections which would greatly aid the younger bass player. Simandl takes care to introduce the positions slowly and carefully. Exercises tend to become tedious after a while due to the excessive use of sequences in the exercises. However, a strong foundation will be gained if the student uses this method. Following a section of minor scales and exercises, the student is introduced to the various types of ornamentation and the first volume is concluded with valuable orchestral excerpts. Teachers and students alike may find it a wise idea to supplement this method with other solos and etude materials. NUOVO METODO PER CONTRABBASSO Isaia Billa A rather extensive work for the double bass, Billets method is comprised of seven volumes. The first part is contained in four books, gradually advancing through many exercises and the second part is in three books terminating with most detailed information and instruction on tuning, natural harmonics, artificial harmonics, and double harmonics. Sections of celebrated solos by Bottesini and others are included concluding with some bass solos with piano accompaniment. The fingering used is the old Italian 1-3-4 system, but the information is excellent and can be easily rearranged to accomodate the 1 -2 -4 system now used. The text is written in Italian, French, and English. The only real general fault with this method is that it tends to progress a little too rapidly, leaving the student stranded without help in later volumes. The exercises are quite through, but may seem a little too much for the average beginning bass student. If one were to be dependent on looking at fingerings while practicing, the 1-3-4 system of fingering could easily mislead a student 4 and cause confusion and frustration. At the time of this writing, Part One- Volume Three was the only readily available section of this method book. In looking through this section, the author was surprised to see very little or no explanation offered with the exer- cises, particularly when it came time to change to various keys, both major and minor. However, the exercises are excellently written, without the monotony involved as in Franz Simandl's work. Because of this, the student will not greatly be bored with practicing out of this method. As solos are included in the later volumes, it would not really be necessary to have to bring in outside materials for quite a while; therefore, the confusion of doing this could be eliminated. If one chooses not to use this method, there is another one which is quite as acceptable as the Bille and could even be substituted for this method. METHODE COMPLETE POUR LA CO;TRABASSE Edouard Nanny Nanny's method book was originally published in two books with the French, German, and English text (just as the Bille book was). The first book deals with the posi- tions while the second deals with advanced techniques, bowing, double stopping, harmonic information, and many more advanced studies and exercises. This is one of the 5 best methods obtainable today, although it requires more practice patience than some others due to the exercises being rather labored. This method book is also the first one discussed to include a section on the five stringed bass (tuned G, D, A, E, C). The major problem with the method is the omission of orchestral studies. Only the Simandl NEW METHOD FOR THE DOUBLE BASS contains an extensive section particularly devoted to the study of orchestral parts. Nanny, like Bille, also leaves a lot to be desired as far as having information concerning the various etudes and studies. The student is again left to decide how to perform (or even practice) many of the exercises, given only fingerings and articulations. An excellent part of this method is the inclusion of extended fingerings (going out of a given position for notes not included in that position without shifting) and use of the thumb in lower positions. There are always cases when a student should be aware of these technical capacities, and Nanny is the first to introduce these ideas on an early volume. Part Two of this methods begins where Part One ends. The second part vo ul d be of valuable service to serious- minded soloists, although other books or exercises could better serve a bass student in that capacity. The 6 author introduces this method in about the fourth or fifth year of study with students as Simandl could more or less fulfill the needs of the earlier years of study. After a year or two in the Nanny METHODE COMPLETE POUR LA CONTRABASSE, the student would be ready to move on to other methods, etudes, and solos. DOUBLE BASS METHOD Ludwig Streicher Not much is known about this particular method due to the fact that it is not yet published.
Load more

Recommended publications
  • Domenico Dragonetti: a Case Study of the 12 Unaccompanied Waltzes
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-19-2020 10:00 AM Domenico Dragonetti: A case study of the 12 unaccompanied waltzes Jury T. Kobayashi, The University of Western Ontario Supervisor: Dr. James Grier, The University of Western Ontario : Dr. Peter Franck, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Arts degree in Music © Jury T. Kobayashi 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Kobayashi, Jury T., "Domenico Dragonetti: A case study of the 12 unaccompanied waltzes" (2020). Electronic Thesis and Dissertation Repository. 7058. https://ir.lib.uwo.ca/etd/7058 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This thesis uses the 12 waltzes composed by the famous double bass virtuoso, Domenico Dragonetti, as a case study to examine certain key aspects of his playing style. More specifically, this thesis seeks to answer the question: what aspects of Dragonetti’s playing could be deemed virtuosic? I select a number of instances in the waltzes where the demands posed by various passages suggest a specific solution required to execute the passage. I suggest various solutions to these passages that reveal the types of solutions Dragonetti might have employed and help shed light on my initial question. The analysis reveals that Dragonetti might have been an athletic musician who was agile across the fingerboard, and whose bow technique afforded him a large palette of articulations that helped him achieve polyphonic textures on the instrument.
    [Show full text]
  • February 22 & 23, 2020 Coriolan Overture, Op
    Happy Birthday, Herr Beethoven – February 22 & 23, 2020 Coriolan Overture, Op. 62 Ludwig van Beethoven 1770-1827 Plutarch, the Ancient Greek historian and biographer, tells the story of the Roman general Coriolanus, who defeated the Volscians in central Italy, southeast of Rome, and captured their city of Corioli in 493 B.C. According to the story, Coriolanus returned victorious to Rome, but soon had to flee the city when charged with tyrannical conduct and opposition to the distribution of grain to the starving plebs. He raised an army of Volscians against his own people but turned back after entreaties of his mother and his wife. The Volscians, however, regarding him as a traitor because of his indecisiveness, put him to death. The inspiration for Beethoven’s Coriolan Overture came neither from Plutarch nor from Shakespeare, who made him the subject of his play Coriolanus, but from a play by Heinrich Joseph von Collin – poet, dramatist and functionary in the Austrian Finance Ministry (Austria’s way of supporting its artists). Von Collin’s play was a philosophical treatise on individual freedom and personal responsibility. It premiered in 1802 to great acclaim, using incidental music derived from Mozart’s opera Idomeneo. Beethoven took just three weeks to compose the Coriolan Overture in January 1807. It was meant to stand on its own as a composition inspired by the play. The Overture was premiered in March at an all-Beethoven concert held in the palace of one of Beethoven’s patrons, Prince Lobkowitz. Violin Concerto in D major, Op. 61 Ludwig van Beethoven 1770-1827 Despite the customary long gestation of his music, when pressed, Beethoven could work fast.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE the Double Bass
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Double Bass and the Performance of its Solo Repertoire A graduate project submitted in partial fulfillment of the requirements For the degree of Master of Music in Music, Performance By Mika Shimomoto December 2018 The graduate project of Mika Shimomoto is approved: _________________________________________ _______________ Professr Elizabeth A Sellers Date _________________________________________ _______________ Dr. John Roscigno Date _________________________________________ _______________ Dr. Lorenz A Gamma, Chair Date California State University, Northridge ii Acknowledgements I would first like to thank my thesis advisor, Dr. Lorenz Gamma. The door to Dr. Gamma’s office was always open whenever I had trouble or questions about my research and writing. He also consistently allowed me to come to ask him about my recital. He steered me in the right direction whenever he thought I needed it. I would also like to thank Dr. Elizabeth Sellers and Dr. John Roscigno for being on my committee and their invaluable encouragement of my performing and academic experiences during my master studies. My sincere thanks also goes to my mentor, Oscar Meza, who was a great support to me throughout my studies. He taught me not only performing but also how to be a strong person. iii Table of Contents Signature Page ii Acknowledgments iii List of Figures and Charts v Abstract vi Introduction 1 “The Double Bass”, a Complex Musical Instrument 3 Development of the Double Bass and Changing the Roles 7 The Virtuoso and Solo Repertoire for Double Bass 12 Different Approaches for Solo Performance of the Double Bass 21 Conclusion 26 References 28 Bibliography 33 Appendix 1 35 Appendix 2 36 iv List of Figures Figure 1.
    [Show full text]
  • Capuzzi Concerto Info
    Informal Details about the Double Bass Concerto by G. A. Capuzzi, and its Relationship (or lack thereof) to Domenico Dragonetti © by Joëlle Morton, August 23, 2012 Domenico Dragonetti Born April 7, 1763 in Venice, to parents of limited means (his father was perhaps a musician, but also a gondolier) moved to London in 1794 Died April 16, 1846 in London “Little research has been done on primary material in Venice relating to Dragonetti’s life there. As a result, statements about these years are often unreliable. It was one such misrepresentation…that prompted Francesco Caffi (1778-1874) to write an account of Dragonetti’s life. This biography, dated September 20, 1846 [5 months after Dragonetti’s death], has served as the source for many later statements. Caffi, a magistrate and musicologist, was a fervent admirer of Dragonetti’s musical talent and had known him personally. These facts make his remarks double-edged: on the one hand, he is speaking from personal experience; on the other, this very advantage is weakened by the sentiment that clouds his memory.” Fiona Palmer, Domenico Dragonetti in England (1794-1846): The Career of a Double Bass Virtuoso, p.7-8. Dragonetti’s biography is almost exclusively known from reminiscences authored by his friends: Vincent Novello (London, 1836), Franceso Caffi (1846) and also some details by Carl Ferdinand Pohl (1867). In many instances it is difficult to ascertain the veracity of their statements; the authors did not know Dragonetti well (if at all) in his younger years, and therefore largely rely on what Dragonetti told them about this period.
    [Show full text]
  • T§JWAL1Z in a ...1
    University of Washington 2004-2005 School ofMusic C:.OH P f-I c '\ DAT $ 11f -::;'1-2 Dl~ CV7 jl:: ) 1111-3 Hammond Ashley Bass Violins (www.hammondashley.com). ·LSL/ The UW School of Music and Barry Lieberman I ttl :}1 t 2ooL/ 1 Present 12. - 2­ Barry Lieberman & Friends With guest artists THE BOTTO~1 LINE DUO TRACI & SPENCER HOVESKELAND December 12, 2004 2:00 PM Brechemin Auditorium PROGRAM ( Ij1f' ftr,1-::;' 3 SET I ~ ;-:;:;;~V;;:;;T:; '...~~ ~~~ .~~ ..........?.~c . ~..~............. .. ... :......... ... ... ... .................... .......... LAZARRO (Italy) G1 DANSE RUSTIQUE..... .. ............'2> :2.... ...S--.......... ...... ... ..... ....... WILLIAM HENRY SQUIRE (1873-1963) (England) lLfl 'i ~ ( ~ . O JBLUE MOON .................................................................. RICHARD ROGERS (1902-1979) (Unzted States) 19 HUNGARJANRHAPSODy .......Jf.:."!:.? ......... .. ................................. DAVID POPPER (1843-1913) (Austria) t§JWAL1Z IN A......... ... ..... DOMENICO DRAGONETTI (1763-1846) (Italy) 1.. ............ .. ....................................... ~~~ ANOTHER WAL1Z IN A ... .. .....................................................DOMENICO DRAGONETTI (1763-1846) (Italy) PEPPER'S WAL1Z...............*'..?:-7, ......... .. ................................... HOVESKELAND (b. 1971) (United States) fiJ 12 ~1'fY ~ of ut""'-""A-S 0:4<; h '-L LARGO AL FACTOTUM [BARBER OF SEVILLE}. ....... .......:.2.1.......... GIOACCHINO ROSSINI (1792-1868) (Italy) C y:rt=- I'rrffL( SET II CD BRANDENBURG CONCERTO IN G, Movement
    [Show full text]
  • An Annotated Bibliography for Double Bass Methods and Studies
    AN ANNOTATED BIBLIOGRAPHY FOR DOUBLE BASS METHODS AND STUDIES by MAURICIO TIETBOEHL NASCIMENTO E SOUZA (Under the Direction of Milton Masciadri) ABSTRACT This document is an annotated bibliography of double bass methods and studies accompanied by a brief history of the double bass schools. It describes the contents of each source as well as its pedagogical approach. The inclusion of brief histories of several international double bass schools contextualizes the sources. INDEX WORDS: Double bass pedagogy; Double bass methods, Double bass studies; Double bass history; Double bass techniques; AN ANNOTATED BIBLIOGRAPHY FOR DOUBLE BASS METHODS AND STUDIES by MAURICIO TIETBOEHL NASCIMENTO E SOUZA B.A., Universidade Federal do Rio Grande do Sul, Brazil, 2009 M.M., University of Georgia, 2012 A Document Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2016 © 2016 Mauricio Tietboehl Nascimento e Souza All Rights Reserved AN ANNOTATED BIBLIOGRAPHY FOR DOUBLE BASS METHODS AND STUDIES by MAURICIO TIETBOEHL NASCIMENTO E SOUZA Major Professor: Milton Masciadri Committee: Levon Ambartsumian Susan Thomas Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia August 2016 iv DEDICATION To my wife for believing that this degree would be possible, for sacrificing her career, and for supporting me in every way possible. v ACKNOWLEDGEMENTS To Dr. Milton Masciadri for providing me the opportunity to pursue this degree, and to my committee members Levon Ambartsumian and Susan Thomas for their guidance. To the CAPES – MEC, Brazil which supported me during the last two years of this degree.
    [Show full text]
  • Bass World V34 N1 5Th Proof
    THE STRING QUINTETS OF GEORGE ONSLOW By Ali Kian Yazdanfar Bassists, we need to face the facts. Unfortunately, our usual catalog of chamber music pales in comparison with the reper- toire available to upper string players. It is true that there are the important quintets by Schubert, Dvorak, Prokofiev, and Vaughan- Williams, and there are also excellent pieces by Schulhoff, Françaix, and Hindemith, lesser-known works by Milhaud, Toch, and Sperger, and also many contemporary works such as those by Golijov, Aho, and Dutilleux. Yet a string quartet has the abil- ity to choose from not just one Beethoven masterwork, but from over fifteen of his quartets, in addition to numerous works by almost every other major composer in the Western canon. Because of this situation, we as bassists must be on the lookout for new ideas for repertoire, from either today's composers or by searching through the huge number of lesser-known works that are not included in the “standard” reper- toire. Years ago, I remember looking through a Lemur Music catalog and seeing a listing for a piano quintet by George Onslow. No one I knew had ever heard the piece or heard of the composer. Although years later I finally did get a recording and score, it was Die Musik, II:1 (1902) not until I first heard some of his string quintets that I sat up and took notice. While Who Was George Onslow? during trips to England. In addition, I was taken by the wonderful music, I was Onslow had the opportunity to experience blown away by the realization that no one George Onslow was born on July 27, firsthand the varied musical life of cos- seemed to know or play these works any- 1784 in Clermont-Ferrand in the Auvergne mopolitan Paris by spending the majority of more.
    [Show full text]
  • Technical Difficulties and Solutions in Double Bass
    TECHNICAL DIFFICULTIES AND SOLUTIONS IN DOUBLE BASS CONCERTOS A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY IAN ELMORE PROF. JU-FANG LIU - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY, 2020 1 Historically, double-basses and their wielders are notorious for a lack of soloistic quality. Because of this notoriety, composers have tended to stray away from writing for the double-bass concerto medium. This compositional task has been left to those who truly understand the instrument. The three concertos that I have selected to study are those that I have played (or am currently playing), including a concerto that was on my MM recital. The three concertos also introduce different technical difficulties that were understood by the composers, as they themselves were bassists. Serge Koussevitzky’s concerto is robust and lyrical. Its melodic content is far simpler than the other two. The remaining concertos, one composed by Giovanni Bottesini (no. 2) and the other by Édouard Nanny (named for Domenico Dragonetti, the dedicatee), are written in Italian and French styles, respectively. All three of the works are late Romantic works. The first movement of each work will be examined, as first movements alone are usually requested for professional symphony audition purposes. I will also give a brief historical background for each work. I have selected these concertos because they each present unique technical challenges. The challenges that rise in these works concern bowings, fingerings, harmonics, and bow strokes. Every bassist has a different approach to the music in each concerto, meaning different musical choices will be made, including decisions about tempo and dynamics.
    [Show full text]
  • Panormo: the Life and Work of Vincenzo and His Sons
    PANORMO The life and work of Vincenzo and his sons An Exhibition • 23–24 October 2016 Curated by Andrew Fairfax PANORMO Our new exhibition featuring Vincenzo Panormo sheds some much-needed light on his life, as Jason Price explains Gaspare Trusiano Panormo c. 1715 – late 18C Rosario Trusiano Panormo Vincenzo Trusiano Panormo Giovanni Trusiano Panormo Introducing Panormo c. 1730 – early 19C c. 1734 – 1813 1746 – early 19C ew characters in the history of violin making have English makers typically followed Stainer and Amati models, difficult for violin makers. In fact only Venice and Naples attracted as much misinformation and mystery as with a few notable exceptions including Daniel Parker and Francesco Panormo Joseph Panormo George Panormo Louis Panormo Gaspare Panormo II seem to have provided sustainable work at this time, which Vincenzo Trusiano Panormo. The major reference John Hare, who made some instruments on a model of a led many – Guadagnini, Valenzano and Panormo being F th th c. 1763 – 1843 c. 1768 – 1837 c. 1776 – 1852 c. 1784 – 1862 fl. late 18C – first half 19C books of the 19 and 20 centuries correctly note some of long pattern Stradivari. Panormo’s arrival in England in the the most notable examples – to migrate in search of fresh th his movements, but they also optimistically imagined him late 18 century coincided with a growing fascination with economic opportunities. The eternally restless Panormo as apprenticed to the Gaglianos, sojourning in Turin and Italian musical culture that accompanied the arrival of violin made more stops on his journey than most, and in doing training with the Bergonzis – all things that we know now to superstars such as Giovanni Battista Viotti, and which began so he contributed greatly to the cross-pollination of violin be extremely unlikely if not patently untrue.
    [Show full text]
  • The Transcription for Two Double Basses Of
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 The transcription for two double basses of selections from Pièces de violes, Quatrème livre, Deuxiême partie: Suitte d'un Goût Etranger by Marin Marais Yong Hao Pan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Pan, Yong Hao, "The transcription for two double basses of selections from Pièces de violes, Quatrème livre, Deuxiême partie: Suitte d'un Goût Etranger by Marin Marais" (2006). LSU Doctoral Dissertations. 243. https://digitalcommons.lsu.edu/gradschool_dissertations/243 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE TRANSCRIPTION FOR TWO DOUBLE BASSES OF SELECTIONS FROM PIÈCES DE VIOLES, QUATRIÈME LIVRE, DEUXIÊME PARTIE: SUITTE D’UN GOÛT ETRANGER BY MARIN MARAIS A Monograph Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Yong Hao Pan B.M., The Juilliard School, 1999 M.M., The Juilliard School, 2001 December 2006 ACKNOWLEDGEMENTS I am grateful to my double bass professor, Yung-chiao Wei, who has provided her utmost encouragement during my doctoral studies at LSU. I also wish to thank other members of my committee who gave their support and advice on this monograph: Professor Dennis Parker, Dr.
    [Show full text]
  • AN UNDERSTANDING of STYLE of BAROQUE ORNAMENTATION in HANDEL's OPERATIC ARIAS: a STUDY of SELECTED RECORDINGS (1950S – 2010S
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2020 AN UNDERSTANDING OF STYLE OF BAROQUE ORNAMENTATION IN HANDEL’S OPERATIC ARIAS: A STUDY OF SELECTED RECORDINGS (1950s – 2010s) Junghyun Lee University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0001-5224-7249 Digital Object Identifier: https://doi.org/10.13023/etd.2020.050 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Lee, Junghyun, "AN UNDERSTANDING OF STYLE OF BAROQUE ORNAMENTATION IN HANDEL’S OPERATIC ARIAS: A STUDY OF SELECTED RECORDINGS (1950s – 2010s)" (2020). Theses and Dissertations--Music. 156. https://uknowledge.uky.edu/music_etds/156 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • HANDEL EDITION Liner Notes & Sung Texts
    HANDEL EDITION Liner notes & sung texts (p. 40 – p. 97) LINER NOTES CD1 WATER MUSIC and in the fashionable country dance – and added splendid A king does not amuse himself alone highlights to the whole with horns (“French horns”, a novelty in On the evening of July 17, 1717, King George I of England England) and trumpets. Not only King George was enthusiastic boarded the royal barge at Whitehall in the company of a select about it. Striking proof of the popularity of the Water Music is group of ladies and was rowed up the Thames as far as Chelsea, the fact that pieces from it very soon found their way to the where Lady Catherine Jones was expecting him for supper. The concert platforms and into London's theatres; some were even river teemed with boats and barges, as the Daily Courant under laid with texts, two were used in Polly, the sequel to the announced two days later, for everybody who was anybody in legendary 'Beggar’s Opera by John Gay and John Christopher London wanted to accompany the king on this pleasure trip. A Pepusch and one was included in The English Dancing Master by special attraction was provided by a barge of the City Company, John Playford, a famous; often republished collection of popular on which some fifty musicians performed music composed dances. The “Minuet for the French Horn” and the ''Trumpet especially for the occasion; the king liked it so much that he had Minuet” enjoyed particular popularity. They were also the first it repeated twice.
    [Show full text]