The Swedish singer Elisabeth Olin was the first star of Swedish opera, but very little is known about her today. The theoretical part of this study gives a historical background to her life and the music that she performed, music that is rarely performed today. Further, this study discusses the subject of Historically Informed Performance Practice (HIP) and the most common arguments for and against it, with examples connected to the repertoire in focus. The results of the study show that although HIP does not give clear answers or solutions, it offers tools for interpretation and performance, which help the musician to make artistic choices. The artistic part of this study is a performance about Olin based on music that she performed. The object of the artistic part is to present Olin and the music of her time, particularly the music of Gustavian opera, to a modern audience. / <p>G. B. Pergolesi (1710–1736) Salve Regina i c-moll</p><p>F. A. Uttini (1723–1795) ”Öde, dina dolda lagar” ur Thetis och Pelée (1773)</p><p>F. A. Uttini ”Min tunga känner intet tvång” ur Aline, drottning av Golconda (1775)</p><p>P-A Monsigny (1729­-1817) ”Il ne faut pas vous alarmer” ur La belle Arsène (1773, Stockholm 1779)</p><p>C. W. Gluck (1714-1787) “Armez-vous d’un noble courage” ur Iphigénie en Aulide (1774, Stockholm 1778)</p><p>J. G. Naumann (1741–1801) “Mitt minne fåfängt återför…I berg som krönen denna tract” ur Amphion (1777)</p><p>E. Olin (1740–1828) ”En liten sårland bäck” (ur diktsamlingen ”Gustaviade”, 1768)</p><p>Medverkande: Elisabeth Hellström, sopran; Karolina Weber Ekdahl, barockviolin; Sandra Marteleur, barockviolin; Boel Hillerud Nyman, barockviola; Johanna Niederbacher, barockcello; Sofia Winiarski, kistorgel och cembalo; Klara Hellström, blockflöjt; Alex Gullberg, blockflöjt</p><p>Ljudupptagning från examenskonsert i Kungasalen 2023-03-22 med ovanstående program och medverkande.</p>

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The German Protestant church composer and organist, Gottfried August Homilius (1714-1785), is recognized primarily for his sacred compositions written during his time as cantor at the Kreuzkirche and the director of music at the three main churches in Dresden. The forerunner of Homilius research, Uwe Wolf, together with Carus-Verlag, brought forth Gottfried August Homilius: Studien zu Leben und Werk mit Werkverzeichnis (2008) and his thematic catalogue (2014) as products of the public’s renewed interest and research in the composer and his music. Homilius’ oratorio passion, Johannespassion, represents one of the valuable discoveries of this recent revival of Homilius research. While musicologists celebrate such an exciting expansion of the music library of the mid-eighteenth century, a bigger task ensues before us: the equal sharing of joy with the performers. Indeed, the resonance of Homilius’ music in the concert halls and churches beyond the bounds of the research papers and music p / Music Performance

In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under-representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate. / Music Performance

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This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.

Beethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of the orchestra. Included is a detailed analysis of his nine symphonies, an overview of his personal life, and an exploration of the historical, social, and political time in which he lived. This thesis collects and examines relevant documents in order to inquire about and better understand the changes and innovations that transformed the standard orchestra of the eighteenth century, opening the doors to the symphonic music of the Romantic Era. / by Daniel Padua. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 200?. Mode of access: World Wide Web.

xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

By considering sixteenth-century English chorister training, modern singers of Renaissance vocal music are informed of the practical and academic demands unique to Elizabethan musicians and audiences. Clauses in relevant choirmaster contracts provide an insight into pedagogical expectations of teachers and their choristers. Studies included plainchant, grammar, Latin, rhetoric, improvisation, poetry, morality, instrumental instruction on organ and viols, and composition. For those not associated with cathedrals and collegiate chapels, Thomas Morley outlined the educational sequence of his teacher's generation in his 1597 publication, "A plaine and easie introduction to practicall musicke." Morley presented education as discourse between students and teacher, and covered the fundamentals of singing, improvisation, and composition. With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas." With the digitization of and online access to Renaissance performing sources, present-day performers can readily examine the design of sixteenth-century manuscript and printed partbooks. Performance practice recommendations can be gleaned from the physical nature of the music that once equipped the Renaissance chorister with the visual means necessary for expression. Combined with principles of chorister training, this project suggests learned choices in pronunciation, tone, intonation, phrasing, pitch, text underlay, musica ficta, rhetoric, and expression for the prima pars of William Byrd's middle period motet, "Tristitia et anxietas."