Bärenreiter Organ Music
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The Organ Ricercars of Hans Leo Hassler and Christian Erbach
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Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
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. -
Problematic Differences Between the Ricercar and Fantasia
I. Introduction The fantasia was an instrumental genre first cultivated in Italy and Spain in the early 1530’s and was quite popular among composers because it imposed no set rules or form, thus allowing experimentation with numerous styles and compositional techniques. Composers used the fantasia as a way to write with complete freedom, not restrained by any preexisting structure; this often resulted in improvisatory treatment of musical material. First developed by Italian lutenists such as Francesco Canova da Milano and Spanish vihuelists such as Luis Milán, the fantasia eventually became known all over Europe. Throughout the history of this genre, the fantasia is often connected to an earlier form called the ricercare. Composers and writers of the sixteenth century either made loose distinctions between these genres, or could not agree on how to explain them, which resulted in some confusion about the terms. II. Purpose In this paper, I will supply a historical background and draw a distinction between the genres of the ricercare and fantasia, with references to influential composers such as Francesco Canova da Milano and Luis Milán. In addition, I will select a fantasia from Luis Milán’s El Maestro (1536) to be transcribed for modern guitar. I will supply a brief historical overview of Milán’s works, as well as an outline of the transcription process, a style analysis of the selected work, and solutions to some performance issues. My adaptation will attempt to make a clearer realization of Milán’s contrapuntal writing in ways that are idiomatic to the guitar. 1 III. Problematic differences between ricercare and fantasia There is much information on the connection between the genres of ricercare and fantasia. -
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95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’. -
DVOŘÁK's CHAMBER and PIANO MUSIC in Preparation in High-Standard Reprints
Titles DVOŘÁK'S CHAMBER AND PIANO MUSIC in preparation in high-standard reprints Serenade in D minor Op. 44 Our publishing house's lasting care for quality sheet Piano four hands BA 9565 From the Bohemian Forest Op. 68 for wind instruments, violoncello and double bass music of this most-performed classic Czech composer is Edited by Robin Tait BA 9547, BA 9548 Slavonic Dances Op. 46 and Op. 72 BA 10424 score also re ected in a new series of reprints of mostly chamber BA 10424-22 parts in slipcover and piano music from the Antonín Dvořák Complete Violin and Piano To appear in September 2016 BA 9576 Romantic Pieces Op. 75 DVOŘÁK Edition (ADCE), prepared by the best Czech editors The new Urtext edition of this masterpiece of its genre and Dvořák specialists of the day (Jarmil Burghauser, B Ä R E N R E I T E R U R T E X T is based jointly on the autograph and the ¦ rst Simrock Piano Trio / Quartet / Quintet BA 9578 Piano Trio in B- at major Op. 21 edition (1879). The editor revised the editorial decisions Antonín Čubr, Antonín Pokorný, Karel Šolc, František To appear in May 2016 made in the 1879 print, restoring some of Dvořák's Bartoš, etc.). With their combination of modern printing BA 9564 Piano Trio in F minor Op. 65 original ideas and clarifying certain inconsistencies BA 9538 Piano Trio in G minor Op. 26 in articulation. The current edition contains a critical and Bärenreiter-brand quality, the ADCE reprints re ect BA 9537 Piano Quartet in E- at major Op. -
University Microfilms
INFORMATION TO USERS This dissertation 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 lay 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 thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Dissertation Body
Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America. -
Louis Vierne's Pièces De Fantaisie, Opp. 51, 53, 54, and 55
LOUIS VIERNE’S PIÈCES DE FANTAISIE, OPP. 51, 53, 54, AND 55: INFLUENCE FROM CLAUDE DEBUSSY AND STANDARD NINETEENTH-CENTURY PRACTICES Hyun Kyung Lee, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Jesse Eschbach, Major Professor Charles Brown, Related Field Professor Steve Harlos, Committee Member Justin Lavacek, Committee Member Benjamin Brand, Director of Graduate Studies of the College of Music Warren Henry, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Lee, Hyun Kyung. Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices. Doctor of Musical Arts (Performance), May 2016, 47 pp., 2 tables, 43 musical examples, references, 23 titles. The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles. -
Remes Essay NEW for ONLINE
TEXTUAL ILLUSTRATION IN J.S. BACH’S SETTINGS OF O LAMM GOTTES, UNSCHULDIG Derek Remes Eastman School of Music [email protected] www.derekremes.com May, 2015 !1 J.S. Bach set the tune O Lamm Gottes, unschuldig six times in his surviving works. [slide 2] The settings range from early to late works, and vary widely in instrumentation, length, and complexity. Because this tune was always paired with the same text, we are afforded an opportunity to compare how Bach treated the same text in a variety of contexts. As we will see, Bach consistently used chromaticism, diminished seventh chords, and suspensions—that is, dissonance—at certain poignant words, implying that these techniques carried specific extramusical meaning in these contexts. These associations between text and compositional technique enhance our understanding of Bach’s musical vocabulary. [Slide 3] The text of O Lamm Gottes, unschuldig was written by Nicolaus Decius in 1531.1 There are three Low German hymns ascribed to him, each intended to replace portions of the Latin Ordinary: Hyllich ys Godt de vader (Sanctus), Allein Gott in der höh sei ehr (Gloria in excelsis), and O Lamm Gottes, unschuldig (Agnus Dei). These three texts are the oldest evangelical hymns, preceding Luther’s first chorale texts by almost a year.2 O Lamm Gottes, unschuldig is an expanded translation of the Agnus Dei, the more literal German translation being the text Christe, du Lamm Gottes, both shown in the table. Christe, du Lamm Gottes is paired with a different tune, which Bach set in the Orgelbüchlein as BWV 619, and again in the cantata Du wahrer Gott und Davids Sohn, BWV 23. -
In This August, 2019 Issue the Dean's Column
Website: http://detroitago.org/ Visit Us on Facebook In This August, 2019 Issue The Dean’s Column Members News & Events (“The List”) Chapter News & Events For Sale The Dean’s Column I really can’t believe how summer has slipped away. Hoping it’s been a good summer for everyone and an opportunity for us to re-charge the batteries for the coming fall and Advent season. In the midst of choirs starting up again, preparation for special Advent and Christmas music, don’t forget about AGO programming. Andrew Herbruck, our Sub-Dean, has been working very hard this summer to put a schedule together for the coming year. And it is packed with great events. You will not want to miss any of them. In addition to the usual events including Epiphany banquet, organ crawl, installation of officers, scholarship auditions and scholarship/membership recital, there are two exciting recitals in the fall, a lecture/recital on music of Vierne and the list goes on and on. A special thank you to Andrew for his hard work on this endeavor. Speaking of installation of officers, this evening promises to be a delightful one. Wednesday, October 23 will be our annual installation of officers and board members for the new year. The evening includes a dinner sponsored by the host church, St. Paul’s UMC in Rochester and a recital by Johan Vexo, organist at Notre Dame/Paris. You will not want to miss this evening of good fellowship, friendship, sharing stories with colleagues and beautiful music. So please, if you have not done so, mark your calendars now for October 23 and save that date. -
The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones 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 Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 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 NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the 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 and Dramatic Arts Sara Ann Jones B. A., McNeese State University