Thesis (M.M.)--Boston University

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Thesis (Ph.D.)--Boston University / The objectives of this study were as follows: (1) to determine which movements in the large choral works of J. S. Bach are contrafacta; (2) to compare those movements with their prototypes; (3) to document changes which were made in the adaptation; and (4) to speculate on what reasons may have prompted these alterations. In assessing the relative value of the contrafactum and its prototype several aspects were considered: what type of parody was involved; whether the prototype was a great work of art; whether its textual content was similar to that of the later version; and whether the music fitted its new setting. The method of the composer was also considered: were there many changes or was it a mechanical transformation; even if it was'merely a "mechanical transformation," was it successful? An attempt was also made to determine whether or not there was a symbolic connection between the parody and its prototype. The conditions under which the contrafacta were written were also considered. To such questions, unequivocal answers were not always possible since clear and precise documentation was often unavailable. In many instances one could only suggest possible solutions. However, the investigation confirmed Schering's thesis that, even though Bach's borrowings were usually due to pressures of public performance, the contrafacta contain several aesthetic improvements and reveal a high degree of artistry. Indeed, they may be considered the climax in the Baroque Era of this particular compositional technique. Some of the transformations provided excellent examples of typically Bachian traits, the most common of which was textual and formalistic symbolism. Another noticeable feature was a general tendency to make the later setting more extensive and massive than the original composition. Consequently, wherever it was possible, Bach added new instrumental and vocal parts, increased the length of the later versions, augmented certain melodic intervals, and usually made the contrafacta more melismatic than their models. In the smaller Masses, however, Bach tended to simplify harmonies making the later composition more austere than its model. Although the tendency throughout the parodies was to improve the setting, the functional aspect still influenced the transformation to such a degree that a few of the parodies seem inferior to their prototypes. This was especially evident in the contrafacta sections of the Christmas Oratorio. Nevertheless, perhaps the most distinct trait in all of the contrafacta was the care with which Bach chose his models; inevitably the texts of both versions were formally similar and often a subtle symbolism in the relationship between text and music was preserved. In addition to these specific aspects, another conclusion can be drawn which is equally important--the need for further study in this area of musical research. For instance, in Bach's own works there is still much to learn from his instrumental contrafacta and those in the Cantatas. Moreover, a perusal of the literature revealed that there is a dearth of material available on the contrafactum as a recurring phenomenon in music history and as a technique employed by other composers. By filling in this gap, scholars might gain further insight into the work methods of other great masters.

Due to a break in its practice and pedagogy during the Classical and Romantic Eras, many misconceptions regarding the Baroque natural trumpet remain today. As newly discovered instruments and pedagogical materials have become known and disseminated, a resurgence in the performance of the natural trumpet has occurred, but its practice is still often conceived as wholly separate from modern trumpet technique. This study clarifies long-held misconceptions about the natural trumpet, describes its physical, pedagogical, and technical traits in comparison with the modern trumpet, and demonstrates that its concurrent practice with the modern trumpet is not only possible, but significantly beneficial. Qualities unique to the Baroque natural trumpet bestow upon it tremendous pedagogical potential for its simultaneous study with the modern trumpet. The possible benefits of this concurrent practice include increased embouchure strength, efficiency and endurance, the elimination of even badly entrenched negative habits, stronger fundamental abilities, and a better understanding of the performance of Baroque trumpet music. The plausibility of these pedagogical gains is evidenced by both modern and Baroque pedagogical literature, the scientific principles behind playing both types of trumpet, and the experiences of professional trumpeters who have demonstrated high levels of proficiency on both instruments.

Thesis (M.A.)--Boston University

This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.

This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.

The present investigation deals with the cantatas of Dietrich Buxtehude written for three voice parts with instrumental accompaniment. An examination of the various musical forms which Buxtehude employed in these cantatas will comprise one of the two areas in this study. The other area shall be concerned with Buxtehude's usage of word painting (i.e., musical portrayal of word meanings). Before entering an investigation of Buxtehude's music, his life and background should be considered.

Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique moderne de la musique ancienne. Nous nous intéressons particulièrement au répertoire pour clavier de l’époque du baroque tardif. L’instrument pratiqué aujourd’hui, le piano, occupe une place visible dans l’interprétation de ce répertoire. Or, ce répertoire a été conçu pour des instruments différents. Comment le piano a-t-il conquis son statut d’instrument propre à l’exécution de ces oeuvres ? Comment les pianistes ont-ils vécu le mouvement baroquiste ? qu’en est-il des aptitudes du piano à rendre justice à cette musique ? Quelles sont les philosophies interprétatives impliquées dans la problématique ? La recherche projetée se propose de répondre à ces questionnements, en choisissant pour terrain d’étude des oeuvres de Bach, Scarlatti et Rameau, compositeurs porteurs chacun de caractéristiques stylistiques particulières. L’étude analytique appliquée sera circonscrite aux enregistrements discographiques depuis l’époque du microsillon. / The second half of the twentieth century witnessed the development of the movement of renewal in the interpretation of old music, especially that of the Baroque period, depending on theoretical updating, reading and studying of contemporary works that provided musicians with a range of elements which have no relation with the traditional interpretation inherited from the nineteenth century.The approach applied in composing music was accompanied by a restoration and reopening of the former instruments, which became essential to the modern performance of old music. As a pianist, I am very much interested in the keyboard repertoire of the late Baroque, or the second half of the eighteenth century. The instrument played today, the modern piano, has a visible place in the landscape interpretation of baroque repertoire for keyboard. However, these works were designed for an entirely different instrument. How could the harpsichord play old works? How pianists interested in Baroque music experienced the movement "baroque"? What is really the piano skills do to this music? Beyond that, how are the philosophers of interpretation involved in this issue? What is their philosophy and how was it built? The proposed study aims to answer this set of questions, preferred the keyboard works String of Bach, Scarlatti and Rameau, composers representing distinct tradition of writing and Holders of each particular stylistic characteristics.The analytical study was applied in addition to recordings from the time of microstomia. / شهد النصف الثاني من القرن العشرين تطورا مشهودا لحركة تجديد أداء الموسيقا القديمة, خصوصا موسيقا الباروك,مستندة على قاعدة نظرية إن إعادة النظر قراءة و دراسة الأعمال الحديثة قدمت للموسيقيين مجموعة عناصر سمحت لهم ببناء أداءات موسيقية تقطع صلتها تماما مع تقاليد أداء القرن التاسع عشر إن المنهجية المطبقة على كيفية الصياغة الموسيقية, ترافقت مع عملية ترميم و إعادة بناء معتمدين على ا لعودة إلى الآلة القديمة التي أصبحت بدورها عنصرا أساسيا في عملية الأداء المعاصر للموسيقا المؤلفة ماقبل ١٨٠٠كوني عازفة بيانو أعير اهتماما خاصا لمجموعة الأعمال المكتوبة لآلات الكلافيه في فترة الباروك المتأخرةأو الجزء الثاني من القرن الثامن عشر. الآلة الممارسة اليوم البيانو المعاصر يشغل مكانا مركزيا في أداء مجموعة هذه الأعمال. لكن هذه الأعمال كانت مكتوبة و مخصصة لآلات مختلفة كيف استطاعت آلة المطارق (البيانو) أن تحتل مكانها كآلة قادرة بدورها على أداء الأعمال القديمة؟ كيف نظرعازفو البيانو المهتمون بموسيقا الباروك الى ظاهرة حركة الباروكيين؟ ماهي صلاحيات آلتهم لاعطاء هذه الموسيقا حقها الكامل؟ ماهي الفلسفات التي تتضمنها هذه الإشكالية, ما هو تاريخ هذه الفلسفات وعلى أي أساس بنيت؟ إن البحث الآتي يقترح الإجابة على مجموعة هذه الأسئلة بالاستناد إلى دراسة خاصة لأعمال آلات الكلافيه للمؤلفين باخ, رامو وسكارلاتي، الذين يمثل كل منهم مدرسة قائمة بحد ذاتها, و تتميزمؤلفات كل منهم بخصائص أسلوبية واضحة. الدراسة التحليلية المطبقة, معززة أيضا بتسجيلات صوتية لأداءات مختلفة على آلة البيانو منذ عام ١٩٥٠ حتى يومنا الحاضر

Ravel' s "Tombeau de Couperin," a suite for piano, was published in 1918 by Durand. Its first performance was in the Salle Gaveau in Paris in April, 1919. Shortly afterwards Ravel scored four of the six movements of the piano suite for small orchestra, composed of flutes, oboes, clarinets, bassoons, and horns in pairs, English horn, trumpet, harp, and strings, The new version was introduced in America in 1920. The four orchestrated movements, Prelude, Forlane, Menuet, and Rigaudon, have no programmatic content and the titles identify the forms used. "Le Tombeau de Couperin" is a souvenir of World War I. Each movement is dedicated to the memory of a French soldier fallen in battle. The "Tombeau" form dates from the seventeenth century and is a musical "homage" to Francois Couperin, clavecinist of Louis XIV, and one of the great names of French music. "The separate movements, cast in eighteenth century dance forms often used by Qouperin have been described as "tonal wreaths," not too somber nor too profuse, laid with tenderness on an unforgotten tomb." This piece represents Ravel's extreme effort to express himself in the simplest possible manner. The music is subtly archaic; form, line and texture artfully suggest eighteenth century, but the harmony suggests twentieth century. "A transparent serenity full of color and feeling pervades this piece of classic purity written in tribute to Ravel's fallen comrades." A study of the piano suite has been made. The pieces are charmingly and precisely orchestrated. They have been used for a ballet which will not be dealt with.