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INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the qualit}' is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations 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 through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microfilms International 300 N. ZEES ROAD. ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND 8015941 U m s t a e d t , M o n ic a Jo h a n n a THE EARLY ORGAN PRELUDES, FUGUES, TOCCATAS AND FANTASIAS OF JOHANN SEBASTIAN BACH AS A CULMINATION OF ITALIAN AND GERMAN ORGAN LITERATURE OF THE 15TH TO 17TH CENTURIES The Ohio Stale University D.MA. 1980 University Microfilms Intern St io n s! 300 N. Zeeb Road, Ann Arbor. MI 48106 18 Bedford Row, London WCIR 4EJ, England THE EAELY ORGAN PRELUDES, FUGUES, TOCCATAS AND FANTASIAS OF JOHANN SEBASTIAN BACH AS A CULMINATION OF ITALIAN AND GERMAN ORGAN LITERATURE OF THE 15th to l? th CENTURIES 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 Monica Johanna Umstaedt, B.M., M.M. ***** The Ohio State University 1980 Reading Committee; Approved By Marshall Barnes Maurice Casey Gordon J. Wilson Adv^Æor Schooiof Music VITA February 3. 1953« Bom - Cleveland, Ohio 1974 ........................... B.M., Baldwin-Wallace College, Conservatory of Music, Berea, Ohio 1975-1978. Graduate Teaching Associate, School of Music (Performance D ivision), The Ohio State University, Columbus, Ohio 1976 ........................... M.M., The Ohio State University, Columbus, Ohio 1978-present. , Lecturer in Organ and Church Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field; Music; organ Studies in organ, organ literature. Professor Gordon J. Wilson Studies in church music, organ peda-gogy. Professor Wilbur Held Studies in music history. Professors Richard Hoppin, Herbert Livingston, Martha Maas, Alexander Main, Keith Mixter Studies in music theory. Professors Marshall Bam es, Gertmde Kuehefuhs, Norman Phelps, Charles Vedder Studies in composition. Professor Marshall Bames Studies in choral conducting, choral repertoire. Professor Maurice Casey XI Graduating Recital Series, 1977-78 Monday, May 1, 1978, 8:00 p.m. Mershon Auditorium MONICA JOHANNA UMSTAEHT, organ This recital is presented in partial fulfillment of the req.uirements for the degree Doctor of Musical Arts PROGRAM Premier Livre d'Orgue (Suite du premier ton) P ie rre Du Mage P lein .leu (ca. 1676- 1751) Fugue Trio Tierce en Taille Basse de Trompette R écit Duo Grand .jeu Méditations sur le Mystère de la Sainte Trinité Olivier Messiaen VI. Dedicated to th e Son ( t . 1908) IX. "I am who I am" - Exodus 3 :l4 Prélude et Fugue sur le nom d'Alain, Op. 7 Maurice Duruflé (b. 1902) INTERMISSION Choral-Improvisation sur le "Victimae paschali Charles Toumemire (1870-1939) Recon. hy Maurice Duruflé Choral No. 2 in h minor césar Franck ( 1822- 1890) P asto rale Jean-Jules Roger-Ducasse ( 1873- 1954) Variations sur un Noël, Op. 20 Marcel Dupré (1886-1971) XXI Graduating Recital Series, 1978-79 Wednesday, January 24, 1979, 8:00 p.m. Mershon Auditorium MONICA JOHANITA UIBTAEDT, o rg a n ist This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Prelude and Fugue in C Major, BVJV 5^7 J. S. Bach Partite diverse sopra J . S . Bach "Christ, der du hist der helle Tag", BWV 766 Prelude and Fugue in E Minor, BWV 548 J . S . Bach INTERMISSION Concerto in A Minor, BWV 593 Vivaldi-J. S. Bach A llegro Adagio A llegro Sonata V in C Major, BWV 529 J . S . Bach A lleg ro Largo A lleg ro Toccata in F Major, BWV 540 J . S . Bach XV MUSIC FOR ORGAN, BRASS AND PERCUSSION June 3 , 1979 7:30 P.M. Worthington United Methodist Church Worthington, Ohio Monica Johanna Umstaedt, organ Maurice Casey, conducting This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts SACRAE SYMPHONIAE (l597) Giovanni Gahrieli Sonata pian’e forte Canzon noni toni CONCERTANTE FOR ORGAN, BRASS, PERCUSSION (1966) Daniel Pinkham I. Canzona 11. Procession i n . P la in t PHANTASY ON THE CHORALE "COME, HOLY GHOST, GOD Jan Bender AND LORD" FOR ORGAN AND BRASS CHOIR ( 1960) ***1NTERM1SSION*** JUBILATE, ORGAN AND BRASS (1970) John Weeks KONZERT FUR ORGEL UND BLASER ( 1961) Joseph Ahrens 1. Allegro maestoso 11. Andante 111. Allegro Tjrumpets Trombones Tom Battenherg Joe Duchi Robert Birch Jeff Keller Rick Burkaxt Patrick Lewis French Horns B arito n e Susan Rankin Albert Adcock Kent Larmee Percussion Beverly Stoltz James Moore Lecture Recital Sunday, February 24, 1980 4:00 p.m. St. James Episcopal Church MONICA JOHANNA UMSTAEDT, organ This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts PROGRAM Lecture - Recital "EARLY KEYBOARD FINGERING AND ARTICULATION" WITH EXAMPLES DRAWN FROM THE WORKS OF HANS KOTTER, HANS BUCHNER, JOHN BULL, ORLANDO GIBBONS, SAMUEL SCHELDT, J . P . SWEELINCK, JEAN FRANÇOIS DANDRIEU, FRANCOIS COUPERIN, J . S. BACH, AND C. P.' E. BACH VI TASLE OF CONTENTS Page VITA .................................................................................................................... i i PROGRAMS................................................................................................................ i i i LIST OF MUSICAL EXAMPLES.......................................................................... v i i i INTRODUCTION .................................................................................................. 1 C hapter I . PRELUDE, TOCCATA, RICERCAR, AND FANTASIA .... 8 I I . FREE ORGAN FORMS IN ITALY................................................ 28 Italian Influence on the German Regions . I I I . FREE ORGAN FORMS IN GERMANY............................................ 58 The Southern and Middle Regions ......... 58 North Germany ................................................. 8 l IV . THE EARLY FREE ORGAN WORKS OF J . S. BACH .... 105 Sum m ary.............................................................. 1^1 BIBLIOGRAPHY....................................................................................................... 156 V ll LIST OF MUSICAL EXAMPLES Example Page 1. TaLlatiore of Adam IleLorgh, Praeamtulmm super d a f at g ..........................................................................9 2. Buxheim Organ Book, Praeamtulum super G ..................... 10 3. Buxheim Organ Book, Praeamhulum super C, ms. 26 to e n d ............................................................................... 11 4. John Bull, Prelude (No. Il8, Musica Britannica XIX) 12 5. Kleher, Fantasÿ in fa. ms. 1 - 4.......................................19 6. Kleher, Fantasy in fa, "coloration" of the final c h o r d .................................................................................................20 7. Andrea Gahrieli, Fantasia allegra, ms. 24 - 23. 21 8. Recerchare di Jacoho fogliano da modena, ms. 35 - ^ 8 .........................................................................................29 9. Recerchare di Julio [Segnôl da modena musica f i ( c ) t a p e r l a v ia d i G s o l r e u t , ms. 1-6. ... 30 10. Girolamo Cavazsoni, Canzon sopra I le hel e hon, ms. 1 - 8 .............................. 31 11. Andrea Gahrieli, Ricercar Quinto Tono. ms. 38-43» 32 12. Girolamo Frescohaldi, Toccata Prima, ms. 1 - 3 • • 37 13. Frescohaldi, Toccata Prima., last 2 ms .......................... 38 14. Michelangelo Rossi, Toccata secunda. ms. 1 - 2 . ^ 15. J. J. Froherger, Toccata (from Diverse ingegnosissime e rarissime. .Partite. .di cimhali organi e instrumenti, 1693), ms. 13-1^ and 4 1 - 4 2 ................................................................................................. 59 V lll Example Page 16. Hans Leo Hassler, Ricercar. subject ....... 6l 17. Johann Speth, Toccata tertia, ms. 31 - 38 . • 63 18. J. P. Sweelinck,
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    CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18.
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    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.