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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. -
JANUARY, 2011 Zion Lutheran Church Wausau, Wisconsin Cover Feature on Pages 28–29
THE DIAPASON JANUARY, 2011 Zion Lutheran Church Wausau, Wisconsin Cover feature on pages 28–29 Jan 2011 Cover.indd 1 12/9/10 11:45:20 AM Jan 2011 pp. 2-19.indd 2 12/9/10 11:46:25 AM THE DIAPASON Here & There A Scranton Gillette Publication One Hundred Second Year: No. 1, Whole No. 1214 JANUARY, 2011 Washington National Cathedral January 23, Carol Williams; March 13, Established in 1909 ISSN 0012-2378 continues its organ recital series: Janu- Stephen Tharp; May 8, Cameron Carpen- An International Monthly Devoted to the Organ, ary 2, Robert Costin; 1/9, Kyle Babin; ter. For information: <www.laphil.org>. the Harpsichord, Carillon, and Church Music 1/16, Craig Williams; 1/23, Lee Dettra; 1/30, Brink Bush; February 6, Kristian Presbyterian Homes, Evanston, Il- Schneider; 2/13, Jochanan van Driel; linois, continues its organ recital series at 2/20, Robert McCormick; 2/27, Karen Elliott Chapel: January 24, Julia Brueck; CONTENTS Editor & Publisher JEROME BUTERA [email protected] Christianson; March 6, Roman Kras- February 28, Harry van Wijk; March 28, 847/391-1045 novsky; 3/20, Jeremey Filsell; 3/27, Flo- Massimo Nosetti; April 25, John Ou- FEATURES rian Wilkes. For information: rensma; May 23, Andrew Peters; June Albert Schweitzer Organ Festival Associate Editor JOYCE ROBINSON <www.nationalcathedral.org>. 27, Colin Lynch. For information: Thirteenth Anniversary [email protected] <www.presbyterianhomes.org>. by David Spicer 19 847/391-1044 Emmanuel Church, Chestertown, Maryland, continues its music series: The Church of St. Luke in the Southern Harmony Revisited— Contributing Editors LARRY PALMER Harpsichord January 5, Evensong; 1/21, Tom Shee- Fields, New York City, presents its mu- in the pew and on the organ bench han; February 18, Ahreum Han; March sic & arts series on Thursdays at 8 pm: by Charlie W. -
Bigram Editor: a Score Editor for the Bigram Notation
BIGRAM EDITOR: A SCORE EDITOR FOR THE BIGRAM NOTATION Andres Perez-Lopez Jose M. Alcantara Bertrand Kientz [email protected] [email protected] [email protected] ABSTRACT The Bigram Notation is an alternative approach to musical notation, based on the chromatic nature of Western music. As observed historically with alternative notation systems, their spread and consolidation is based on the existence of complementary and supportive tools, as ideosyncratic Figure 1. Score excerpt from Franz Liszt’s ”Hungarian Rhap- instruments and specific written material. Accordingly, sody 2” we present the binary keyboards and the Bigram Editor, a graphical bigram score editor with automatic transcription and reproduction capabilities. number of alternative notation systems has been proposed. Thomas Reed [3] gathers more than 500 different nota- 1. INTRODUCTION tions, being the earliest of them (by H. Richter) first doc- umented in 1847. Reed also founded the Music Notation It is commonly accepted that the conventional music no- Modernization Association (MNMA) in 1985, which was tation system has its origin in the 11th century with the the predecessor of the present The Music Notation Project tetragram from Guido d’Arezzo. Since then, it has been (MNP), founded in 2008. The MNP’s mission is ”To raise evolving and adapting itself along with evolution of musi- awareness of the disadvantages of traditional music nota- cal language [1], until conforming its modern version. tion, to explore alternative music notation systems, and to However, conventional music notation presents a number provide resources for the wider consideration and use of of systematic problems [1]; for instance: these alternatives” [4]. -
Charles Jacobs: on EDITIONS of MUSIC in TABLATURE and the PERFORMER
- --- - ---~ ----------- Charles Jacobs: ON EDITIONS OF MUSIC IN TABLATURE AND THE PERFORMER Many lutanists and guitariats, as well as performers on similar plucked string in- struments, have developed reliance on tablature notations to the point that they balk at using editions of early music in• modern musical notation, whether on a single staff or two staves. The editor of old music in tablature notation often comes to feel that his edition, thanks to this problem, serves musicians at !arge more than the performers for whom the music was originally intended. A substantive issue is here involved, however, which transcends that of convenience for the performer: provision of the music in a way most closely representing the com- poser 's intention. This should indeed be most desirable for the performer, as well, despite the apparent lass of what appears to forma considerable practical aid to the music's execution - the tablature. Apart from providing music in the best possible way, which, in this writer's view, can only be done with modern bi-staff or score notation, an edition ought to demon- strate its !'lditor' s awareness of related problems of musical notation touching areas seemingly distant, but in Fact relevant - even essential-, to old music or old music notated in tablature. For example, a multitude of tablatures - "convenience notations111 , for so they might most_ properly be termed - have been proposed and used in music. In the sixteenth cen- tury alone, there are lute tablatures, diverse although related in principle, in Italy, France, and Spain; the Spanish sources, in addition, provide two diametrically opposed systems of intabulation, one2 whose lowest line represents the lowest-pitched course of the instrument, the other3 in which the same line represents the reverse, the highest- pitched course. -
Realized Continuo Accompaniments from Florence C1600 John Walter
Realized Continuo Accompaniments from Florence c1600 John Walter Hill Early Music, Vol. 11, No. 2. (Apr., 1983), pp. 194-208. Stable URL: http://links.jstor.org/sici?sici=0306-1078%28198304%2911%3A2%3C194%3ARCAFFC%3E2.0.CO%3B2-2 Early Music is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Fri Nov 9 18:48:54 2007 John Walter Hill Realized continuo accompaniments from Florence c1600 Historical instruction books for continuo realization of the song by Francesco Rasi, published in 1608, are plentiful, but in general they leave modern per- which is in the manuscript; the manuscript contains formers with three major problems. -
Survey of Selected Keyboard Music from the Baroque and Classical
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1979 Survey of selected keyboard music from the baroque and classical periods, with an introduction to the performance practices of the times and concluded with guides to the music presented in the survey Gay Garard Brewer The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Brewer, Gay Garard, "Survey of selected keyboard music from the baroque and classical periods, with an introduction to the performance practices of the times and concluded with guides to the music presented in the survey" (1979). Graduate Student Theses, Dissertations, & Professional Papers. 3807. https://scholarworks.umt.edu/etd/3807 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A S m iE Ï OP SELECTED KEYBOAED MUSIC FROM THE BAROQUE AMD CLASSICAL PERIODS, WITH AN INTRODUCTION TO THE PERFORMANCE PRACTICES OF THE TIME AND CONCLUDED WITH GUIDES TO THE MUSIC PRESENTED IN THE SURVEY By Gay Garard Brewer Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1979 Approved by: Go Chairman, Board of Examiners Dean , Graduate School f / Date UMI Number: EP35316 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Howard Ferguson's Contributions to Piano Literature and Pedagogy
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE HOWARD FERGUSON‘S CONTRIBUTIONS TO PIANO LITERATURE AND PEDAGOGY A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By NICOLE ELIZABETH BIGGS Norman, Oklahoma 2011 HOWARD FERGUSON'S CONTRIBUTIONS TO PIANO LITERATURE AND PEDAGOGY A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY © Copyright by NICOLE ELIZABETH BIGGS 2011 All Rights Reserved. HOWARD FERGUSON‘S CONTRIBUTIONS TO PIANO LITERATURE AND PEDAGOGY Table of Contents List of Illustrations ................................................................................................ vii Musical Examples ............................................................................................. vii Tables ............................................................................................................... viii Abstract .................................................................................................................. ix Chapter 1. An Overview of Howard Ferguson‘s Musical Achievements .............. 1 Purpose of the Document .................................................................................... 8 Need for the Study .............................................................................................. 9 Procedures ........................................................................................................... 9 Limitations ....................................................................................................... -
Doctor of Musical Arts
RICE UNIVERSITY A History of Keyboard Hand Division: Note (Re)Distribution in Keyboard Music from the Renaissance to the Twentieth Century By Michael Clark A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Musical Arts APPROVED, THESIS COMMITTEE Karim Al-Zand Karim Al-Zand (Apr 22, 2021 15:21 CDT) Karim Al-Zand Professor of Composition and Theory Danielle Ward-Griffin Assistant Professor of Musicology Robin Sickles Reginald Henry Hargrove Professor of Economics and Statistics HOUSTON, TEXAS April 2021 ABSTRACT A History of Keyboard Hand Division: Note (Re)Distribution in Keyboard Music from the Renaissance to the Twentieth Century by Michael Clark This thesis considers the history of redistribution, the practice of altering the hand assignment of one or more notes, in keyboard music from the Renaissance to the early twentieth century. Chapter 1 explores methods of notating and executing hand division in the sixteenth and seventeenth centuries through the writings of contemporary performers and composers. Keyboard music appeared in two broad categories of notational formats: those that indicate hand distribution (“prescriptive”), such as the two-staff Italian intavolatura, and those that do not (“non-prescriptive”), including open score and Spanish and German tablature. Performers using non-prescriptive formats considered factors such as equal division of labor, wide spans, and ornamentation when determining which hand plays what, important precursors to the principles guiding the practice of redistribution. Chapter 2 traces two parallel trends in eighteenth-century keyboard music described by C.P.E. Bach. He asserts that the notation of three or more voices across two staves does not represent the hand division required to play them, establishing a particular freedom of fingering in polyphonic music.