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The Lyra Viol in Consort with Other Instruments Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1982 The yL ra Viol in Consort With Other Instruments. Ila Hartzler Stoltzfus Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stoltzfus, Ila Hartzler, "The yL ra Viol in Consort With Other Instruments." (1982). LSU Historical Dissertations and Theses. 3772. https://digitalcommons.lsu.edu/gradschool_disstheses/3772 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify 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 complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. 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 illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University M iaririlm s International 300 N. Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8229515 Stoltzfus, Ila Hartzler THE LYRA VIOL IN CONSORT WITH OTHER INSTRUMENTS The Louisiana State Univenity and Agricultural and Mechanical ColPH.D. 1982 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1983 by Stoltzfus, Ila Hartzler All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or pag es______ 2. Colored illustrations, paper or print______ 3. Photographs with dark background ______ 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy ______ 6. Print shows through as there is text on both sides of page______ 7. Indistinct, broken or small print on several pages ^ 8. Print exceeds margin requirements _____ 9. Tightly bound copy with print lost in spine______ 10. Computer printout pages with indistinct print 11. Page(s)____________ lacking when material received, and not available from school or author. 12. Page(s)____________ seem to be missing in numbering only as text follows. 13. Two pages numbered___________ . Text follows. 14. Curling and wrinkled pages______ 15. Other______________________________________________________________________ University Microfilms International Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE LYRA VIOL IN CONSORT WITH OTHER INSTRUMENTS A Dissertation Submitted to the Graduate Faculty o-f the Louisiana State University and Agricultural and Mechanical College in partial -ful-f i 11ment o-f the requirements -for the degree o-f Doctor o-f Philosophy in Music History and Literature by Ila Hartzler Stol tz-fus B.A., Goshen College, 1967 M.M.E., Louisiana State University and Agricultural and Mechanical College, 1975 August 1982 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©1983 ILA HARTZLER STOLTZFUS All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE The entire extant repertoire o-f unpubl ished music •for the lyra viol in consort with other instruments exists in the eight manuscripts (identified in Table 1, p. 11) which are the focus of this study. Fragments and incomplete parts can be found in other manuscripts, and many of these are concordant sources. Two of the five composers represented in th is music, namely, John Jenkins and Christopher Simpson, were esp ecially important in the history of English music from the seventeenth century. Music for this ensemble con-sists of dance pieces and ayres which have been collected into suites. The ensemble contains a treble instrument, a lyra viol, a bass viol, and usually a harpsichord or member of the lute family. Until the early 19£0s, much of the repertoire for the lyra viol was overlooked by historians and performers. Frank Traficante was the fir s t to examine this music in his study of the "Mansell Lyra Viol Manuscript" (1965). He established the fact that there existed a large amount of music for the lyra viol that had not been investigated. Although his dissertation focuses on one manuscript for solo lyra viol, Traficante discusses the history of the style of 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. p’ayi-g, known printed and manuscript sources, and a v ariety c -f tunings J Dr the lyra viol. In 1971, John Sawyer completed a study of the collection o-f solo and ensemble music catalogued in the Oxford Bodleian Music School as MSS D.245-7. In 1?73, Paul Furnas completed a study of the large cc’lection of solo lyra viol music, known as the "Manchester Samba Bock." In addition to a thorough examination of the respecti'-e manuscripts, the w riters named above have presented infor­ mation on the history of instrument, ornamentation, tunings, and related ar.d concordant repertoire in both published and manuscript sources. In the present study of the eight manuscripts of music for the lyra viol consort, the focus has been on the s ty lis tic features which make the ensemble unique to the seventeenth-century English repertoire. Thus, the pieces have been examined with attention to the role of the lyra viol in the ensemble. The study is divided into six chapters. A historical survey is provided in Chapter I. The changing government, the revolution, and the growing importance of the middle class during this period influenced the popular musical taste s which in turn dictated the selection of music for publication. • The discussion of the five composers in Chapter II includes information regarding their activities as well as 111 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. their major works. Also included in this section is- a d5 = i pt i rn c t 5 ?.* h *"f t h s rr; 3.n u s c r i p * 3 3 n d i t = 1 o c 3.^icn * In Chapter III, the instrumentation o- the 1 y~ a -icl consort is discussed. Conjectures about its history and a survey of the music in both pub’ i shed and manuscript fzrm are provided. The treble and t ue continue i ns tr u~e*'t = o- the ensemble are also discussed in this chapter. I- sr-e o-f the man user i p ts , these i r. s t rumen ts are not spec i* i ed . Soth the choice o-f the instruments and the style o* continue realization affect the nature of the ensemble, and these problems are also discussed in Chapter III. A description of the forms of the pieces and their organization within the suites is found in Chapter IV. Most of these pieces are dances and ayres, and, except for the pavans, they are in binary form with homophonic texture. The pavans are frequently in ternary form and show more elements of the-polyphonic texture. The pieces are grouped according to a common key, and relationships among the keys and the tunings for the lyra viol are also shown. The musical elements of rhythm, melody, harmony, and texture are the focus of the discussion of compositional style in Chapter V. For this part of the study, the tablature for the lyra viol was transcribed into regular natation, and a score of each of the pieces was made. The music was studied with attention to the musical U Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. elements and the distribution o-f the voices in the ensemble. A summary of this study <rather‘ than.
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