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An Examination, Reinterpretation And An Examination, Reinterpretation and Application of Selected Performance Practices in Four Motets of Luca Marenzio (1553-1599): Implications for a Modern Choral Performance Context Item Type text; Electronic Dissertation Authors Jackson, Christopher Newlyn Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 13:32:28 Link to Item http://hdl.handle.net/10150/196154 AN EXAMINATION, REINTERPRETATION AND APPLICATION OF SELECTED PERFORMANCE PRACTICES IN FOUR MOTETS OF LUCA MARENZIO (1553 - 1599): IMPLICATIONS FOR A MODERN CHORAL PERFORMANCE CONTEXT by Christopher Newlyn Jackson ________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Christopher Newlyn Jackson entitled An Examination, Reinterpretation and Application of Selected Performance Practices in Four Motets of Luca Marenzio (1553-1599): Implications for a Modern Choral Performance Context and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: 11/15/04 Bruce Chamberlain _______________________________________________________________________ Date: 11/15/04 John Brobeck _______________________________________________________________________ Date: 11/15/04 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 11/15/04 Document Director: Bruce Chamberlain 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: ________________________________ Christopher Newlyn Jackson 4 ACKNOWLEDGEMENTS I would like to thank my committee for their attention paid to this project and for their willingness to see this document through to its completion. I would like to single out for special thanks my advisor, Dr. Bruce Chamberlain, for his invaluable assistance and advice concerning the process of editing the motets for performance. I would also like to thank Dr. John Brobeck for his willingness to impart his musicological knowledge and for being a sounding board for ideas. I am very grateful to Terr Shawn, Sandy Glass, Doug Camp, Eric Holtan and Lani Johnson for going above and beyond the call of duty on numerous occasions to aid me during the preparation for my lecture recital. Lastly, I would like to thank my wife of seven years, Miriam Newton, for her statistical expertise, her editing skills and her unwavering love and support throughout this project. 5 TABLE OF CONTENTS LIST OF ILLUSTRATIONS ............................................................................................. 6 ABSTRACT ....................................................................................................................... 7 CHAPTER 1. INTRODUCTION ..................................................................................... 8 CHAPTER 2. LUCA MARENZIO AND HIS CULTURAL MILIEU .......................... 38 Patrons .......................................................................................................................... 40 Probable Ensembles and Performance Locales ........................................................... 57 Applications of Ensemble Performance Practice Information to a Contemporary Choral Context ..................................................................................................... 82 CHAPTER 3. VOCAL VIBRATO ................................................................................. 90 Vibrato Study ............................................................................................................. 125 Results of Singers' Questionnaires ............................................................................. 129 Conclusions from Singers' Questionnaires ................................................................ 140 Results of Conductors' Evaluations ........................................................................... 143 Conclusions from Conductors' Evaluations ............................................................... 147 General Conclusions from Singers' and Conductors' Studies .................................... 148 CHAPTER 4. TEXT EXPRESSION TECHNIQUES .................................................. 151 CHAPTER 5. ORNAMENTATION ............................................................................ 167 CHAPTER 6. CONCLUSION ..................................................................................... 196 APPENDIX A: HUMAN SUBJECTS APPROVAL ................................................... 210 APPENDIX B: MOTETS ............................................................................................. 211 Preface to Cantate Domino canticum novum ............................................................. 212 Cantate Domino canticum novum .............................................................................. 227 Preface to Domine quando veneris ............................................................................ 244 Domine quando veneris ............................................................................................. 257 Preface to Gaudent in coelis ...................................................................................... 267 Gaudent in coelis ....................................................................................................... 280 Preface to Laudate Dominum ..................................................................................... 285 Laudate Dominum ...................................................................................................... 300 REFERENCES .............................................................................................................. 322 6 LIST OF ILLUSTRATIONS MUSICAL EXAMPLE 1 ................................................................................................. 80 MUSICAL EXAMPLE 2 ................................................................................................. 81 MUSICAL EXAMPLE 3 ................................................................................................. 87 MUSICAL EXAMPLE 4 ................................................................................................. 87 MUSICAL EXAMPLE 5 ................................................................................................. 88 MUSICAL EXAMPLE 6 ................................................................................................. 88 MUSICAL EXAMPLE 7 ................................................................................................. 89 MUSICAL EXAMPLE 8 ............................................................................................... 121 MUSICAL EXAMPLE 9 ............................................................................................... 121 MUSICAL EXAMPLE 10 ............................................................................................. 123 MUSICAL EXAMPLE 11 ............................................................................................. 123 MUSICAL EXAMPLE 12 ............................................................................................. 124 FIGURE 1, Freedom and ease of vocal production ....................................................... 129 FIGURE 2, Resonance ................................................................................................... 130 FIGURE 3, Breath management .................................................................................... 131 FIGURE 4, Maintenance of voice's natural color .......................................................... 132 FIGURE 5, Balance in ensemble ................................................................................... 133 FIGURE 6, Bright/dark balance in individual voices .................................................... 134 FIGURE 7, Ease of duplication ..................................................................................... 135 FIGURE 8, Teaching techniques - Senza vibrato
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