DOCSLIB.ORG

Album Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Album Booklet CON ARTE E MAESTRIA Virtuoso violin ornamentation from the dawn of the Italian Baroque Monteverdi String Band In Focus Oliver Webber violin Steven Devine organ & harpsichord Con arte e maestria Giovanni Bassano (c.1561–1617) Gärtner (dates unknown) 1. Ricercata prima [2:29] 9. Toccata [2:34] Virtuoso violin ornamentaon from Cipriano de Rore (c.1515–1565) Biagio Marini the dawn of the Italian Baroque (ornaments by Riccardo 10. Sinfonia ‘L’Orlandina’ [2:09] Rognoni, c.1550–c.1620) 2. Anchor che col parre [3:35] Giovanni Gabrieli (c.1555–1612) Monteverdi String Band In Focus 11. Toccata del secondo tuono [2:16] Giovanni Pierluigi da Oliver Webber violin Palestrina (c.1525–1594) Tomas Luis de Victoria (c.1548–1611) Steven Devine organ & harpsichord (ornaments by Oliver Webber b.1969) (ornaments by Giovanni Basta 3. Deh hor foss’io col vago della luna [4:07] Bovicellim, fl. late 16th century) 12. Dilectus tuus candidus [6:40] Ascanio Mayone (c.1565–1627) 4. Canzon francese prima [2:39] Cipriano de Rore (ornaments by Oliver Webber) Biagio Marini (1594–1663) 13. Signor mio caro [3:50] 5. Sinfonia ‘La Gardana’ [2:06] Oliver Webber Oliver Webber (aer Claudio Monteverdi et al.) (aer Giovanni Bassano) 14. Ciaccona [4:23] 6. Ricercata [1:59] Michelangelo Rossi (c.1601–1656) Thomas Crecquillon (c.1505–c.1557) 15. Toccata nona [3:48] About Oliver Webber: (ornaments by Oliver Webber) 7. Par trop souffrir de fortune Dario Castello (1602–1631) ‘Oliver Webber [bows] with rapier-like eloquence’ ennemie [4:29] 16. Sonata prima [4:05] Gramophone Orlando di Lasso (c.1532–1594) Carlo G (fl. c.1600–1620) About Steven Devine: (ornaments by Girolamo 17. Convers planctum [2:41] dalla Casa, d.1601) ‘[Devine] is authoritave, suave, technically dazzling and delivers immaculately 8. Susanne ung jour [4:36] manicured ornaments that lend brilliance and expressive introspecon when required’ BBC Music Magazine Giovanni Paolo Caprioli (c.1580–c.1627) Con Arte e Maestria: the culminaon Giovanni Basta Bovicelli, and the (ornaments by Oliver Webber) of a virtuoso tradion mysterious Carlo G, we present three 18. Vulneras cor meum [2:57] madrigals, a chanson, a motet and a canzona, Milanese violinist Francesco Rognoni’s each newly ornamented in the style of one Antonio Mortaro (fl. 1587–1610) ornamental showpiece Io son ferito, which of these great masters. (ornaments by Oliver Webber) appears in the second volume of his Selva 19. Canzona ‘La Malvezza’ [4:27] di varii passaggi, 1620, is caponed Modo Il vero modo di diminuir: ornamentaon di passeggiar con arte e maestria – ‘manner in pracce Aurelio Virgiliano (fl. c.1600) of ornamenng with art and mastery’; con 20. [Ricercata] on arte e maestria is used to this day to denote The basis of most ornamentaon during this ‘Vesva i colli’ [1:25] excellence and consummate crasmanship period was diminuon: the creaon of in creave fields from music to cookery, measured paerns of faster notes from Giovanni Pierluigi da Palestrina jewellery and architecture. slower ones; for example, from a minim we (ornaments by Oliver Webber) can create paerns of four quavers, eight 21. Così le chiome mie [3:44] The work features a breathtaking range of semiquavers, or sixteen demisemiquavers. ornamental devices: runs and florid passages, We are fortunate that a veritable treasure Andrea Gabrieli (c.1532–1585) trills, vast leaps, doed rhythms, repeated trove of diminuon resources from this 22. Intonazione quarto toni [1:24] notes and echoes, all created from a simple period survives: as well as complete works, original melody in minims and semibreves. fully ornamented, oen in mulple versions, Giovanni Pierluigi da Palestrina It represents the culminaon of a fascinang there are treases which not only explain (ornaments by Francesco tradion of solo ornamentaon, which how diminuons are created and how to Rognoni, d. c.1626) flourished especially in northern Italy from apply them, but also give hundreds of 23. Io son ferito [6:08] the early sixteenth to the early seventeenth examples. centuries. Il vero modo di diminuir (’the true manner In this recording we present some of the of diminuon’) appears in the tles of two Total playing me [78:45] more remarkable works of its final generaon, of the treases which have contributed to beginning with Francesco Rognoni’s father, this recording: Girolamo dalla Casa (1584) Riccardo; in the interests of not only and Riccardo Rognoni (1592). That these celebrang but also giving new life to this two ‘true’ methods differ significantly tradion, we also offer something completely reveals the variety of approach among new: in addion to published ornamented individual performers and teachers. works by the Rognonis, Girolamo dalla Casa, Five ornamental personalies col vago della luna, the first of three sengs in this recording of Roman master Giovanni The approach of Girolamo dalla Casa is Pierluigi da Palestrina, whose madrigals were strikingly systemac: for him, the true especially popular as vehicles for virtuoso method consists of the skilful combinaon diminuons. of four essenal subdivisions of the beat: into four, eight, twelve and sixteen. In order The singer Giovanni Basta Bovicelli offers to prepare his readers, he begins with us something quite different: he quavers only, then semiquavers only, disnguishes diminuons, or passaggi, from quavers and semiquavers combined, accen – brief, rhythmically fluid paerns, and so on, ending his first volume with used to connect the notes in a phrase with fully mixed examples, before presenng charm and elegance. The delight in his complete works, fully ornamented in sengs comes from the oen surprising the vero modo, in the second volume. transions and combinaons of passaggi and accen. In this recording, dalla Casa is represented by one of his versions of Susanne ung jour Instrumentalists need feel no guilt at and a newly devised version of a chanson appropriang vocal repertoire: instrucons by the Flemish composer Thomas to imitate the voice are almost universal, Crecquillon, a parcular favourite of and Francesco Rognoni specifically dalla Casa. recommends the vocal part of his trease to instrumentalists for this very reason. In comparison with dalla Casa, Riccardo Bovicelli’s version of Spanish composer Rognoni’s approach diverges more oen Tomas Luis de Victoria’s [Qualis est] from stepwise moon: one characterisc dilectus tuus candidus, replete with rich, figure is a syncopated leap upwards dark textures, is contrasted with a newly followed by a descending scale. Flourishes created version of de Rore’s Signor mio caro: of an octave aer a cadence also feature here, the high tessitura, short phrases and prominently. occasional silences, enhanced by Bovicelli-inspired accen and occasional This style is heard here in his version of the passaggi, contribute to a perfumed, Flemish madrigalist Cipriano de Rore’s ephemeral atmosphere. Anchor che col parre, and in Deh hor foss’io The discovery of the Carlo G manuscript in striking features include a prevalence of his 1609 volume pleads the reader’s bass, is inspired by figuraon from a number 2007 (the author’s name, obscured by a doed rhythms, octave leaps, slurs of various tolerance for occasional rule-breaking in of early seventeenth-century ciaccona sengs, smudge, has never been definively lengths, triplet paerns and an extended, ornamental passages, without which ‘it is as well as ornamental paerns of the confirmed) was a wonderful gi to students elaborate final cadence. impossible to make a beauful effect’. Rognonis. of the early seventeenth century: a collecon of some 300 pages of elaborately The virtuosic treatment of Io son ferito is the Biagio Marini has long been known as one Dario Castello’s two volumes of ensemble ornamented songs (by Carlo G himself as model for the interpretaon of Così le of the most important composers for the sonatas in sl moderno show the emerging well as a selecon of notable chiome mie presented here: the fluid violin in the early seventeenth century; his sonata style – through-composed with short, contemporaries) with fully realised accen and occasional bursts of extravagant sinfonie – brief gems of works which play contrasng secons – which was to connuo accompaniment, it offers a passaggi and energec dong seem fing with the listener’s expectaons – make a characterise much seventeenth-century unique window into how a simple to the character of the madrigal, which perfect foil for the more extended instrumental wring; his figuraon reflects melody and bass line might have celebrates the burgeoning of love amongst diminuons. the ornamental pracces of his behaved ‘in the wild’. Like Bovicelli’s the sights, sounds and fragrances of spring. contemporaries: many of the runs, passages versions, these feature a combinaon of The toccata aributed to one Herr Gärtner and accen which Rognoni et al. classify as brief, rhythmically supple accen and Other instrumental genres of Nuremberg (about whom nothing more ornamental are wrien into Castello’s music. full-blown passaggi. Convers planctum, is known) is found in a precious manuscript a seng from Psalm 29, is followed by a These exploraons of diminuon pracce are collecon from Wrocław which also contains Castello’s sonata prima is introduced by a sensuous Song of Solomon seng by the framed by a selecon of toccatas, ricercars a selecon of diminuons by Francesco toccata by the Roman organist and violinist Bolognese priest Giovanni Paolo Caprioli, and intonazioni which funcon as preludes, Rognoni. Marini spent me in Germany, Michelangelo Rossi; very much in the ornamented especially for this recording and sonatas and canzonas which shine a and it is not hard to imagine a German tradion which extends from Merulo to in the same style. light into a different area of instrumental violinist introducing one of his sonatas Bach, Rossi’s unique voice can be heard in performance.
Load more

Recommended publications
  • The Motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
    Musica Iagellonica 2017 ISSN 1233–9679 Kateřina Maýrová (Czech Museum of Music, Prague) The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection This work provides a global survey on the Italian music repertoire contained in the music collection that is preserved in the Roman-Catholic parish of Roky- cany, a town located near Pilsen in West-Bohemia, with a special regard to the polychoral repertoire of the composers Andrea and Giovanni Gabrieli and their influence on Bohemian cori-spezzati compositions. The mutual comparison of the Italian and Bohemian polychoral repertoire comprises also a basic compara- tion with the most important music collections preserved in the area of the so- called historical Hungarian Lands (today’s Slovakia), e.g. the Bardejov [Bart- feld / Bártfa] (BMC) and the Levoča [Leutschau / Löcse] Music Collections. From a music-historical point of view, the Rokycany Music Collection (RMC) of musical prints and manuscripts stemming from the second half of the 16th to the first third of the 17th centuries represents a very interesting complex of music sources. They were originally the property of the Rokycany litterati brotherhood. The history of the origin and activities of the Rokycany litterati brother- hood can be followed only in a very fragmentary way. 1 1 Cf. Jiří Sehnal, “Cantionál. 1. The Czech kancionál”, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 29 vols. (London–New York: Macmillan, 20012), vol. 5: 59–62. To the problems of the litterati brotherhoods was devoted the conference, held in 2004 65 Kateřina Maýrová The devastation of many historical sites during the Thirty Years War, fol- lowed by fires in 1728 and 1784 that destroyed much of Rokycany and the church, resulted in the loss of a significant part of the archives.
    [Show full text]
  • Temple University Wind Symphony Patricia Cornett, Conductor
    Temple University Wind Symphony Patricia Cornett, conductor November 13, 2020 Friday Presented Virtually 7:30 pm Program Mood Swings Interludes composed by members of Dr. Cynthia Folio’s Post-Tonal Theory Class. Performed by Allyson Starr, flute and Joshua Schairer, bassoon. Aria della battaglia (1590) Andrea Gabrieli (1532–1585) ed. Mark Davis Scatterday Love Letter in Miniature Marcos Acevedo-Arús Fratres (1977) Arvo Pärt (b. 1935) arr. Beat Briner Schyler Adkins, graduate student conductor Echoes Allyson Starr Motown Metal (1994) Michael Daugherty (b. 1954) Unmoved Joshua Schairer Petite Symphonie (1885) Charles Gounod (1818–1893) I. Adagio, Allegro II. Andante cantabile III. Scherzo: Allegro moderato IV. Finale: Allegretto Ninety-fourth performance of the 2020-2021 season. Bulls-Eye (2019) Viet Cuong (b. 1990) Musings Spicer W. Carr Drei Lustige Märsche, Op. 44 (1926) Ernst Krenek (1900–1991) Temple University Wind Symphony Patricia Cornett, conductor FLUTE TRUMPET Ruby Ecker-Wylie Maria Carvell Hyerin Kim Anthony Casella Jill Krikorian Daniel Hein Allyson Starr Jacob Springer Malinda Voell Justin Vargas OBOE TROMBONE Geoffrey Deemer Rachel Core Lexi Kroll Jeffrey Dever Brandon Lauffer Samuel Johnson Amanda Rearden Omeed Nyman Sarah Walsh Andrew Sedlacsick CLARINET EUPHONIUM Abbegail Atwater Jason Costello Wendy Bickford Veronica Laguna Samuel Brooks Cameron Harper TUBA Alyssa Kenney Mary Connor Will Klotsas Chris Liounis Alexander Phipps PERCUSSION BASSOON Emilyrose Ristine Rick Barrantes Joel Cammarota Noah Hall Jake Strovel Tracy Nguyen Milo Paperman Collin Odom Andrew Stern Joshua Schairer PIANO SAXOPHONE Madalina Danila Jocelyn Abrahamzon Ian McDaniel GRADUATE ASSISTANTS Sam Scarlett Schyler Adkins Kevin Vu Amanda Dumm HORN Isaac Duquette Kasey Friend MacAdams Danielle O’Hare Jordan Spivack Lucy Smith Program Notes Aria della battaglia Andrea Gabrieli A prominent figure in Renaissance Italy, Andrea Gabrieli acted as principal organist and composer at the St.
    [Show full text]
  • High School Madrigals May 13, 2020
    Concert Choir Virtual Learning High School Madrigals May 13, 2020 High School Concert Choir Lesson: May 13, 2020 Objective/Learning Target: students will learn about the history of the madrigal and listen to examples Bell Work ● Complete this google form. A Brief History of Madrigals ● 1501- music could be printed ○ This changed the game! ○ Reading music became expected ● The word “Madrigal” was first used in 1530 and was for musical settings of Italian poetry ● The Italian Madrigal became popular because the emphasis was on the meaning of the text through the music ○ It paved the way to opera and staged musical productions A Brief History of Madrigals ● Composers used text from popular poets at the time ● 1520-1540 Madrigals were written for SATB ○ At the time: ■ Cantus ■ Altus ■ Tenor ■ Bassus ○ More voices were added ■ Labeled by their Latin number ● Quintus (fifth voice) ● Sextus (sixth voice) ○ Originally written for 1 voice on a part A Brief History of Madrigals Homophony ● In the sixteenth century, instruments began doubling the voices in madrigals ● Madrigals began appearing in plays and theatre productions ● Terms to know: ○ Homophony: voices moving together with the same Polyphony rhythm ○ Polyphony: voices moving with independent rhythms ● Early madrigals were mostly homophonic and then polyphony became popular with madrigals A Brief History of Madrigals ● Jacques Arcadelt (1507-1568)was an Italian composer who used both homophony and polyphony in his madrigals ○ Il bianco e dolce cigno is a great example ● Cipriano de Rore
    [Show full text]
  • Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus
    A 16th Century Publication Who-Dun-it: Exploring implications of the double attribution of the madrigal “Canzon se l’esser meco” to Andrea Gabrieli and Orlande de Lassus. Karen Linnstaedter Strange, MM A Double Attribution Why was a single setting of “Canzon se l’esser meco” published in 1584 and 1589 under different composers’ names? For centuries, music history has ascribed this setting of a text from a Petrarchan madrigale to either Orlande de Lassus or Andrea Gabrieli, depending on the publication. It has been assumed the two original publications contain distinct creations of “Canzon se l’esser meco,” and to support this confusion, slight differences in notation between the two modern editions induce an initial perception that the two pieces differ. (See Figures 1A & 1B.). With a few moments of comparison, one can see that the madrigal published under Orlande de Lassus’ name in 1584 is the same piece attributed to Andrea Gabrieli by a different publisher five years later. In fact, no difference exists in the original publications beyond incidental choices by the two publishers, such as the number of notes printed per line and the notation for repeated accidentals. 1 (See Figures 2-5 A & B.) Suppositions and Presumptions The exactness of the two publications provokes interesting questions about issues of personal composer relations and influence, study by copying, and misattribution. In exploring all the possibilities, some quite viable, others farfetched, we can perhaps gain a clearer overview of the issues involved. On the less viable side, perhaps the piece was written simultaneously by each composer and, through some miracle, the two pieces turned out to be exactly the same.
    [Show full text]
  • A Second Miracle at Cana: Recent Musical Discoveries in Veronese's Wedding Feast
    BASSANO 11 A SECOND MIRACLE AT CANA: RECENT MUSICAL DISCOVERIES IN VERONESE'S WEDDING FEAST Peter Bossano 1.And the third day there was a marriage in Cana of Galilee; and the mother of Jesus was there: 2. And both Jesus was called, and his disciples, to the marriage. 3. And when they wanted wine, the mother of Jesus saith unto him, They have no wine. 4. Jesus saith unto her, Woman what have I to do with thee? mine hour is not yet come. 5. His mother saith unto the servants, Whatsoever he saith unto you, do it. 6. And there were set there six waterpots of stone, after the manner of the purifying of the Jews, containing two or three firkins apiece. 7. Jesus saith unto them, Fill the waterpots with water. And they filled them up to the brim. 8. And he saith unto them, Draw out now, and bear unto the governor of the feast. And they bare it. 9. When the ruler of the feast had tasted the water that was made wine, and knew not whence it was: (but the servants which drew the water knew;) the governor of the feast called the bridegroom, 10.And saith unto him, Every man at the beginning doth set forth good wine; and when men have well drunk, then that which is worst; but thou hast kept the good wine until now. —John 2: 1-10 (KingJames Version) In Paolo Veronese's painting of the Wedding Feast at Cana, as in St. John's version of this story, not everything is as at seems.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Antonio De Cabeçon (Castrillo Mota De Judíos 1510 – Madrid 1566)
    Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566) Comiençan las canciones glosadas y motetes de a cinco Fol. 136-158v. from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578 Second part: 13 canciones and 1 Fuga (or Tiento) in 5 voices transcribed for keyboard instrument or harp and arranged for recorders or other instruments with introduction and critical notes by Arnold den Teuling Keyboard instrument or harp 2017 1 2 Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578 Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 on the page which also contains the “erratas”. The Obras contain an extensive and very useful introduction in unnumbered pages, followed by 200 folio’s of printed music, superscribed in the upper margin “Compendio de Musica / de Antonio de Cabeçon.” A facsimile is in IMSLP. The first editor Felipe Pedrell (1841-1922), Hispaniae Schola Musica Sacra, Vols.3, 4, 7, 8, Barcelona: Juan Pujol & C., 1895-98, did not provide a complete edition, but a little more than half of it. He omitted the intabulations, “glosas”, of other composers, apparently objecting a lack of originality to them. He also gave an extensive introduction in Spanish and French. This edition may be found in IMSLP too. Pedrell stopped his complete edition after folio 68 (of 200), and made a selection of remaining works.
    [Show full text]
  • EM French Renaissance.Indd
    French Renaissance Music and Beyond Studies in Memory of Frank Dobbins edited by Marie-Alexis Colin Centre d’études supérieures de la Renaissance Université de Tours French Renaissance Music and Beyond Collection « Épitome musical » Studies in Memory of Frank Dobbins Editor: Philippe Vendrix Editorial Committee: Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala, Christian Meyer, edited by Marie-Alexis Colin Daniel Saulnier, Solveig Serre, Vasco Zara Advisory board: Vincenzo Borghetti (Università di Verona), Philippe Canguilhem (Université de Toulouse Jean Jaurès), Marie-Alexis Colin (Université libre de Bruxelles), Richard Freedman (Haverford College), Giuseppe Gerbino (Columbia University), Andrew Kirkman (University of Birmingham), Laurenz Lüt- teken (Universität Zürich), Pedro Memelsdorff (Schola Cantorum Basiliensis), Kate van Orden (Harvard University), Yolanda Plumley (University of Exeter), Massimo Privitera (Università di Palermo), Jesse Rodin (Stanford University), Emilio Ros-Fabregas (CSIC-Barcelona), Katelijn Schiltz (Universität Regens- burg), Thomas Schmidt (University of Manchester) Editing: Vincent Besson Graphic design: NH•Konzept Cover: Niccolo dell’Abate, Game of Tarots & Concert (Bologna, Palazzo Poggi) © Photo SCALA, Florence, 2017 © 2018, Brepols Publishers n. v., Turnhout, Belgium. ISBN: 978-2-503-57960-3 Dépôt légal: D/2018/0095/39 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. Centre d’études supérieures de la Renaissance, Collection « Épitome musical » Printed inin thethe E.U. EU on acid-free paper. paper. BREPOLS John Griffiths (Monash University & The University of Melbourne) Heteroclito Giancarli and his Compositioni musicali of 0 One of the things that I shared with Frank Dobbins during more than twenty years of friendship was the lute song.
    [Show full text]
  • Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
    Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective.
    [Show full text]
  • I Al the MULTIVOICE SACRED MUSIC of NICOLAS GOMBERT: A
    THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION by Brandi Amanda Neal Bachelor of Arts in Music, University of South Carolina, 2003 Master of Arts in Music, University of Pittsburgh, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 al i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Brandi A. Neal It was defended on April 1, 2011 and approved by James P. Cassaro, Adjunct Assitant Professor, Department of Music, Head, Theodore M. Finney Music Library Alan Lewis, Director of Music, Calvary Episcopal Church, Pittsburgh, Pennsylvania Don O. Franklin, Professor Emeritus, Department of Music Francesca L. Savoia, Associate Professor of Italian, French and Italian Languages and Literature Dissertation Advisor: Mary S. Lewis, Professor Emerita, Department of Music ii Copyright © by Brandi A. Neal 2011 iii THE MULTIVOICE SACRED MUSIC OF NICOLAS GOMBERT: A CRITICAL EXAMINATION OF STYLE AND CONTEXT Brandi A. Neal, PhD University of Pittsburgh, 2011 This dissertation examines the sacred compositions for six or more voices by Nicolas Gombert (1495-1560). Two multivoice (six or more voices) compositional techniques emerged in sixteenth-century Europe. The first of these, the Italian double-choir (coro spezzato) technique, has received far more attention from scholars. This practice divided the vocal ensemble into two groups that sang either separately or together, and whose members remained consistent throughout the musical composition. The second technique, practiced by composers in northern Europe, also split settings into two or more vocal groups, but the members of the groupings constantly changed.
    [Show full text]
  • Improvisation in Vocal Contrapuntal Pedagogy
    Performance Practice Review Volume 18 | Number 1 Article 3 Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci California State University, Sacramento Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Morucci, Valerio (2013) "Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries," Performance Practice Review: Vol. 18: No. 1, Article 3. DOI: 10.5642/perfpr.201318.01.03 Available at: http://scholarship.claremont.edu/ppr/vol18/iss1/3 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Centuries Valerio Morucci The extemporaneous application of pre-assimilated compositional paradigms into musical performance retained a central position in the training of Medieval and Renais- sance musicians, specifically within the context of Western polyphonic practice.1 Recent scholarship has shown the significance of memorization in the oral transmission of plainchant and early polyphony.2 Attention has been particularly directed to aspects of orality and literacy in relation to “composition” (the term here applies to both written and oral), and, at the same time, studies correlated to fifteenth- and sixteenth-century contra- puntal theory, have mainly focused on the works of single theorists.3 The information we 1.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]