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Florida State University Libraries 2016 The Instrument of Heros and Troubadours: The Harp in Tenor Arias Agnes Hall Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INSTRUMENT OF HEROS AND TROUBADOURS: THE HARP IN TENOR ARIAS By AGNES E. HALL A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2016 ©2016 Agnes E. Hall Agnes E. Hall defended this treatise on April 15, 2016. The members of the supervisory committee were: Mary Brigid Roman Professor Directing Treatise Richard Clary University Representative Alexander J. Jiménez Committee Member Melanie Punter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii In loving memory of Thelma Crumble iii ACKNOWLEDGMENTS First of all, I must thank my wonderful harp instructor, Mary Brigid Roman, for her abiding support and knowledgeable guidance over the last four years. Professor Roman consistently goes to great lengths in order to help her students perform, learn, and grow in a supportive atmosphere, and her model of thoroughness and professionalism is an inspiration to those who are fortunate enough to study with her. I would also like to extend my gratitude to the members of my committee for their valuable perspectives and time spent on this treatise. Daron Kirsch formatted the musical examples, and cheerfully worked with me through several revisions. Over the years I have had the privilege of studying with many fine music teachers: Donna Rose, Dot Robertson, Shirley Jennings, Carrol McLaughlin, Ann Young, and Katherine Syer have contributed to my music education and, therefore, this treatise. My parents also deserve much credit, as they worked hard to provide me with every musical and cultural opportunity our small town could offer, and uncomplainingly financed over a decade of higher education. I must also acknowledge Lincoln and Amelia, two dedicated academicians, whose inspirational sense of discipline and strong work ethic far surpass that of their older sister. Finally, I would like to extend my gratitude to the outstanding staff of the Florida State University College of Music, whose helpfulness and knowledge often extend far beyond the duties required of them and work tirelessly to ensure that all of the wheels of the music school turn smoothly. In particular I would like to acknowledge Lauren Smith, Megan McCaskill, Tiawana Meeks, and Jennie Carpenter for their hard work and excellent communication skills, which have made being a doctoral student at FSU an absolute delight. I am truly honored to be a part of the FSU music school community. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi List of Musical Examples ............................................................................................................. vii Abstract .......................................................................................................................................... ix 1. INTRODUCTION ......................................................................................................................1 2. FROM CULTURAL SYMBOL TO ENSEMBLE INSTRUMENT ..........................................4 3.MECHANICAL DEVELOPMENTS IN HARP CONSTRUCTION ........................................13 4. THE HARP AS AN INSTRUMENT OF LAMENT .................................................................23 5. THE HARP AS THE INSTRUMENT OF TROUBADOURS .................................................36 6. THE HARP IN VERISMO OPERA ..........................................................................................49 7. THE HARP AS A SYMBOL OF RESILIANT LOVE .............................................................59 CONCLUSIONS AND RELEVANCE .........................................................................................71 BIBLIOGRAPHY ..........................................................................................................................78 Biographical Sketch .......................................................................................................................82 v LIST OF FIGURES 1. The crochete method of adjusting a string pitch ........................................................................15 2. A single-action harp pedal .........................................................................................................17 3. A double-action harp mechanism ..............................................................................................19 vi LIST OF MUSICAL EXAMPLES 1. Gluck, “Deh placatevi con me!” mm. 1-6 ..................................................................................26 2. Gluck, “Deh placatevi con me!” mm. 16-21 ..............................................................................27 3. Gluck, “Deh placatevi con me!” mm.24, 27, 39 ........................................................................27 4. Gluck, “Deh placatevi con me!” mm.1-6 ...................................................................................28 5. Donizetti, “Una furtiva lacrima,” mm. 1-5 ................................................................................32 6. Donizetti, “Una furtiva lacrima,” mm 21-24 .............................................................................33 7. Donizetti, “Una furtiva lacrima,” mm 33-36 .............................................................................34 8. Donizetti, “Una furtiva lacrima,” mm 39-44 .............................................................................35 9. Wagner, “Dir töne Lob!,” mm. 92-104 ......................................................................................40 10. Wagner, “Dir töne Lob!,” mm 108-109 ...................................................................................41 11. Wagner, “Dir töne Lob!,” mm 115-121 ...................................................................................41 12. Wagner, “Dir töne Lob!,” mm. 181-187 ..................................................................................42 13. Verdi, “Deserto sulla terra,” mm. 40-46 ..................................................................................45 14. Verdi, “Deserto sulla terra,” mm. 40-46 (edited) .....................................................................46 15. Verdi, “Deserto sulla terra,” mm. 32-37 ..................................................................................46 16. Verdi, “Deserto sulla terra,” mm. 67-78 ..................................................................................47 17. Mascagni, “Siciliana,” mm. 5-12 .............................................................................................51 18. Mascagni, “Siciliana,” mm. 5-12 (edited) ...............................................................................52 19. Mascagni, “Siciliana,” mm. 41-49 (edited) .............................................................................53 20. Rachmaninov, “The Young Gypsies’ Romance,” mm. 11-14 .................................................57 21. Rachmaninov, “The Young Gypsies’ Romance,” mm. 21-26 .................................................58 22. Bizet, “Au fond du temple saint,” mm. 20-23. ........................................................................62 vii 23. Bizet, “Au fond du temple saint,” mm. 20-23 (edited) ............................................................62 24. Bizet, “Au fond du temple saint,” mm. 24-29 (edited) ............................................................63 25. Bizet, “Au fond du temple saint,” mm. 96-98 .........................................................................64 26. Puccini, La Bohéme, Act I, Rehearsal 30, mm. 11-15 .............................................................66 27. Puccini, La Bohéme, Act I, Rehearsal 32, mm. 8-12 ...............................................................68 28. Puccini, La Bohéme. Act 1, Rehearsal 32, mm. 8-12 ..............................................................68 29. Puccini, La Bohéme. Act 1, Rehearsal 41, mm. 13-15 ............................................................69 30 Puccini, La Bohéme, Act 1. Rehearsal 30, mm. 16-27 (edited) ................................................69 viii ABSTRACT This treatise primarily examines factors influencing why composers have elected to write for the harp in tenor arias and how composers have done so. In doing so, this treatise traces the evolution of the harp from the simple lyre into the large and intricate instrument that it is today, in order to demonstrate how these mechanical advances influenced how composers incorporated it into tenor arias. Musical examples have been selected based on the harp’s importance in the aria and the work’s place in standard repertoire. The arias are arranged according to the harp’s thematic significance, not in chronological order. Each aria example is accompanied by an explanation of the harp’s musical and theatrical relevance in the passage. Perhaps most importantly, this treatise aspires to provide a resource to harpists as a primer for collaboration with accompanying vocalists. For this reason, historically-informed performance practice tempos and dynamics as well