Examining the Performance Practice of Polyphonic Figures in J.S
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Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1975 Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sanchez, Richard Xavier, "Spanish Chamber Music of the Eighteenth Century." (1975). LSU Historical Dissertations and Theses. 2893. https://digitalcommons.lsu.edu/gradschool_disstheses/2893 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and dius cause a blurred image. -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document. -
Corelli'stonalmodels
Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music. -
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (For Unit 6: Further Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653–1713) is one of the most important and influential composers of the Baroque period. This is all the more remarkable for the fact that his output was very small, being just four sets of twelve trio sonatas, twelve solo sonatas and twelve concerti grossi, plus a handful of other works. All of his music was written for instrumental forces (almost entirely string ensemble) and the form and style of these works were highly regarded by the later generation of Baroque composers such as Handel and Bach. His music was widely recognised and circulated through publishing with as many as 35 different editions of his Op.1 Trio Sonatas being published during the eighteenth-century alone. The compositional techniques Corelli employed are frequently cited as a model for students of Baroque counterpoint and harmony today. Corelli was born into a prosperous landowning family in Fusignano in Northern Italy, although sadly his father died before Arcangelo was born. He studied for four years at nearby Bologna at a time when Italians reigned as the best instrument makers, teachers and performers of string music in the whole of Europe. In 1675, he moved to Rome where he remained for the rest of his life earning his living as a violinist and composer. Queen Christine of Sweden was an early patron of Corelli (he dedicated his Op.1 Trio Sonatas to her) but the Op.3 Trio Sonatas were dedicated in 1689 to Duke Francesco II of Modena. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
Alaska Piano Competition Repertoire Level A7 Junior
Repertoire to use for comparison: Level A7 *Note: Level A7 and A8 repertoire constitutes "Junior Level Repertoire" for the category with the same name in the Alaska Piano Competition. Updated 2018, to be used for the 2018 Alaska Piano Competition and beyond Baroque Period, A7 (Junior) Composer Title Suggested source Publisher J.S. Bach *All Two Part Inventions (except #s Inventions Henle or 1 and 8) *Preludes Kalmus Three part Inventions (Sinfonias) Six/Twelve Little Preludes Alfred #5, E-flat major, #6, E major, Henle or #15, B minor: *Consider all works in Kalmus the collection not already placed in a previous repertoire level. Dauquin Le Coucou Handel Sonatina in A Minor from Suite XI-D The Baroque Period Peters minor: Sonatina Rameau La Villageoise The Baroque Period Peters Scarlatti Sonata - G Major, L90 Scarlatti Sonatas Sonata - G Major, L 338 (K2) Sonata - B Minor, L 263 (K377) Telemann Suite - A Minor Piano Literature Bk. 4, Bastien Kjos Classical Period, A7 (Junior) Composer Title Suggested Source Publisher Bach, C.P.E. Sonata, Op. 5 No. 1 Sonata Classics-Moderns Vol 67 Consolidated Beethoven Sonata - G minor, Op. 49 #1 Sonatas Henle Bagatelle, Op. 33 Nos. 4 & 6 Bagatelles, Op. 33 Bagatelle, Op. 119 Nos. 2 & 3 Eleven Bagatelles, Op.119 9 Variations on "Quanto e piu bello" Variations Vol. 1 6 Variations on "Nel cor piu non mi sento" ('La Molinara') Clementi Sonatina, Op. 36, Nos. 5 & 6 Six Sonatinas, op. 36 Alfred Haydn Sonata - # 48 in C Major, Hob. XVI:35 Haydn Sonatas Vol. II (Landon/Jonas) Schott Kuhlau Sonatinas, Op. -
DOLCE DUELLO& Ol
S CeciliaDOLCE DUELLO& ol Cappella Gabetta • AndrÉs Gabetta Dolce Duello 2 CECILIA BARTOLI voice SOL GABETTA cello CapPella Gabetta Andrés Gabetta violin & director 3 ANTONIO CALDARA c.1671–1736 ANTONIO CALDARA c.1671–1736 Nitocri (Vienna 1722) Gianguir, imperatore del mogol (Vienna 1724) Libretto: Apostolo Zeno Libretto: Apostolo Zeno 1 “Fortuna e speranza” (Emirena) 10.05 6 “Tanto, e con sì gran piena” (Asaf) 6.28 World premiere recording World premiere recording TOMASO ALBINONI 1671–1750/51 GEORGE FRIDERIC HANDEL 1685–1759 Il nascimento dell’Aurora (Venice c.1710) Arianna in Creta, HWV 32 (London 1734) Libretto: Anon. Libretto: Pietro Pariati, adapt. Anon. 2 “Aure, andate e baciate” (Zefiro) 3.23 7 “Son qual stanco pellegrino” (Alceste) 9.23 DOMENICO GABRIELLI 1659–1690 NICOLA ANTONIO PORPORA 1686–1768 San Sigismondo, re di Borgogna (Bologna 1687) Gli orti esperidi (Naples 1721) Libretto: Domenico Bernardoni Libretto: Pietro Metastasio 3 “Aure voi, de’ miei sospiri” (Inomenia) 6.44 8 “Giusto Amor, tu che m’accendi” (Adone) 5.30 World premiere recording ANTONIO VIVALDI 1678–1741 LUIGI BOCCHERINI 1743–1805 Tito Manlio, RV 738 (Mantua 1719) Libretto: Matteo Noris Cello Concerto No.10 in D major, G483 (op.34, Vienna c.1782) 4 “Di verde ulivo” (Vitellia) 5.22 en ré majeur · D-Dur Cadenzas: Sergio Ciomei GEORGE FRIDERIC HANDEL 1685–1759 9 I. Allegro maestoso 8.15 Ode for St Cecilia’s Day, HWV 76 (London 1739) 10 II. Andante lentarello 7.04 Libretto: John Dryden 11 III. Allegro e con moto 6.58 5 “What passion cannot Music raise and quell!” 7.35 4 5 who famously disappeared the night before the which the rival is reduced to silence. -
Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt
Document généré le 1 oct. 2021 08:37 Canadian University Music Review Revue de musique des universités canadiennes --> Voir l’erratum concernant cet article Function and Structure of Transitions in Sonata — Form Music of Mozart Robert Batt Volume 9, numéro 1, 1988 URI : https://id.erudit.org/iderudit/1014927ar DOI : https://doi.org/10.7202/1014927ar Aller au sommaire du numéro Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Batt, R. (1988). Function and Structure of Transitions in Sonata — Form Music of Mozart. Canadian University Music Review / Revue de musique des universités canadiennes, 9(1), 157–201. https://doi.org/10.7202/1014927ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1988 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ FUNCTION AND STRUCTURE OF TRANSITIONS IN SONATA-FORM MUSIC OF MOZART Robert Batt The transition, sometimes referred to as the bridge, is usually regarded as the section of sonata form responsible for modulating from the pri• mary to the secondary key as well as for effecting a structural contrast between the two thematic sections. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Form, Style, and Influence in the Chamber Music of Antonin
FORM, STYLE, AND INFLUENCE IN THE CHAMBER MUSIC OF ANTONIN DVOŘÁK by MARK F. ROCKWOOD A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Mark F. Rockwood Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Stephen Rodgers Chairperson Drew Nobile Core Member David Riley Core Member Forest Pyle Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Mark F. Rockwood This work is licensed under a Creative Commons Attribution-Noncommercial – Noderivs (United States) License. iii DISSERTATION ABSTRACT Mark F. Rockwood Doctor of Philosophy School of Music and Dance June 2017 Title: Form, Style, and Influence in the Chamber Music of Antonin Dvořák The last thirty years have seen a resurgence in the research of sonata form. One groundbreaking treatise in this renaissance is James Hepokoski and Warren Darcy’s 2006 monograph Elements of Sonata Theory : Norms, Types, and Deformations in the Late-Eighteenth- Century Sonata. Hepokoski and Darcy devise a set of norms in order to characterize typical happenings in a late 18 th -century sonata. Subsequently, many theorists have taken these norms (and their deformations) and extrapolate them to 19 th -century sonata forms. -
Baroque Violin Sonatas
Three Dissertation Recitals: the German Romanticism in Instrumental Music and the Baroque Instrumental Genres by Yun-Chie Wang A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2018 Doctoral Committee: Professor Aaron Berofsky, Chair Professor Colleen M. Conway Professor Anthony Elliott Assistant Professor Joseph Gascho Professor Vincent Young Yun-Chie (Rita) Wang [email protected] ORCID id: 0000-0001-5541-3855 © Rita Wang 2018 DEDICATION To my mother who has made sacrifices for me every single day To my 90-year old grandmother whose warmth I still carry ii ACKNOWLEDGEMENTS I would like to thank my committee members for helping me become a more thoughtful musician. I would like to give special thanks to Professor Aaron Berofsky for his teaching and support and Professor Joseph Gascho for his guidance and collaboration. iii TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGEMENTS iii LIST OF FIGURES v ABSTRACT vi Dissertation Recital No. 1 Beyond Words Program 1 Program Notes 2 Dissertation Recital No. 2 Baroque Violin Sonatas Program 13 Program Notes 14 Dissertation Recital No. 3 Baroque Dances, a Fugue, and a Concerto Program 20 Program Notes 22 BIBLIOGRAPHY 31 iv LIST OF FIGURES Figure Page Fig. 1, The engraving of the Guardian Angel (printed in the manuscript of the Mystery Sonatas by Heinrich Ignaz Franz von Biber) 27 Fig. 2, Opening measures of the fugue from Op. 10, No. 6 by Bartolomeo Campagnoli 29 Fig. 3, Opening measures of the fugue from Sonata No. 3, BWV 1005, by J. -
Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style.