The diploma thesis "Suites for solo flute in French prints 1702-1722" deals with a complete set of printed collections with suites, which represent the first solo music for a transverse flute with basso continuo. The first part is devoted to the influences that made the flute a solo instrument and also to the composers who worked in the royal orchestras at the court of Louis XIV. and composed these collections (Michel de la Barre, Jacques Martin Hotteterre, Anne Danican Philidor, Pierre Danican Philidor and François Danican Philidor). The second part focuses on specific subtopics. First, it is a detailed description of the prints, followed by instrumentation, ornamentation, articulation and formal construction. The work concludes with a detailed explanatory dictionary of non - musical names that appear in some collections.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T03:12:02Z (GMT). No. of bitstreams: 1 Scarinci_SilvanaRuffier_D.pdf: 2871057 bytes, checksum: 1ee2088b08c8ed4f846cbdf040db486e (MD5) Previous issue date: 2006 / Resumo: Este projeto aborda de forma crítica e interdisciplinar os lamentos da compositora do seicento italiano, Barbara Strozzi. Para realizá-lo, diferentes abordagens tornaram-se necessárias: primeiramente fiz uma análise de seus lamentos mais representativos. Em segundo lugar, o confronto destas obras com obras similares de diferentes autores possibilitou a compreensão dos ideais estéticos e expressivos do período; e por último, estabeleci as conexões entre estas obras e o cenário cultural e ideológico que as circunda. As vozes de muitas mulheres, poetas e musicistas, criam um denso diálogo com a voz de nossa Venere canora. De Safo a Gaspara Stampa, das heroínas de Ovídio a Barbara Strozzi, todas elas expressam as dores do abandono com as cores violentas do desejo erótico. Tento explicar como a obra de Strozzi encaixa-se nesta tradição e como ela constrói a figura do ser abandonado dentro de um novo contexto, permeado pela força propulsora de Giambattista Marino. Como anfitriã da Accademia degli Unisoni, Barbara Strozzi cria uma música que dialoga com os intelectuais e poetas que freqüentam sua academia, usando uma linguagem que jocosamente provoca, seduz e corajosamente reafirma seu lugar como cortesã / Abstract: This project adresses in a critical and interdisciplinary way the Laments of the seicento woman composer Barbara Strozzi. This task is approached in three complementary steps: firstly an analysis of her most representative laments; secondly, confronting these works with similar ones from different authors, which enables us to understand the aesthetic and expressive ideals of the period; and thirdly the connections between these works and the cultural and ideological scenery that surrounds them. The voices from many women poets and musicians create a dense dialogue with the Venere Canora?s own singing voice. From Sappho to Gaspara Stampa, from Ovid?s heroines to Barbara Strozzi, they all express the pains of abandonment with the violent shades of erotic longing. I try to explain how Strozzi?s work fits into this tradition and how she constructs the figure of the abandoned being within a new poetic and cultural environment, permeated by the revigorating impulse of Giambattista Marino. Being the hostess of the Venetian Accademia degli Unisoni, Barbara Strozzi creates a music that dialogues with her male visitors in a language that wittily provokes, allures and bravely restates her position as a courtesan / Doutorado / Mestre em Música

As a prominent female composer educated at the court of Louis the XIV, Elizabeth-Claude Jacquet de La Guerre already has a notable place in history. Among her compositions are a dozen cantatas based on Biblical texts. As most of her male counterparts primarily composed secular cantatas set to mythological texts, Jacquet de La Guerre’s sacred cantatas stand out as anomalous in the repertoire. Questions arise as to where they were performed and why they were written. The main barrier to this knowledge is the lack of primary sources on her daily life. This study proposes a new methodology to reevaluate Jacquet de La Guerre’s role in developing the French cantata form as a unique genre, further clarify the function and value of her sacred cantatas, and reconsider their place in the canon. Traditional methodologies in historical musicology, though foundational and valuable, by nature obscure relevant insight and appreciation of these works, which defy traditional categorization. To fill in the gaps in primary sources and broaden and deepen our understanding of French sacred cantatas and Jacquet de La Guerre’s work, this study uses Bruno Latour’s Actor-Network Theory, a sociological and philosophical model for describing and assembling information, in combination with Steven Feld’s series of qualitative, ethnographic questions for music evaluation, a sociomusicological and ethnomusicological model introduced in his article “Sound Structure as Social Structure.” In doing so, this study markedly diverges in perspective from traditional musicological and theoretical approaches. The goal of this methodology is to first reexamine Jacquet de La Guerre scholarship as a check for inherited assumptions or unconscious bias in the approach and then proceed with critical inquiry in this fresh space to unpack the function and value of her sacred cantatas. This study sheds light on the relatively rare and currently underperformed sacred cantata form in eighteenth century France, using Jacquet de La Guerre’s sacred cantatas as a case study. It finds that Jacquet de La Guerre’s sacred cantatas were experimental, progressive, and intellectual in form; likely meant for entertainment, edification, and instruction in function; and highly regarded in value. The methodology described and then employed in this study takes considerable strides in reassessing Jacquet de La Guerre’s activity as both a respected intellectual and celebrated composer in early modern France, in highlighting her role in developing the French cantata form, in clarifying the function and value of her sacred cantatas, and in demonstrating how this reassembled knowledge creates more informed and compelling performances of her music. / 2026-09-25T00:00:00Z

The purpose of this study was to investigate, through stylistic analysis, the choral problems in twelve selected choruses from George Frederick Handel's oratorio, Messiah. The twelve choruses were selected for analysis in this study after consultation with several authorities in the field of choral music and on the basis that they are representative of problems encountered in the remaining choruses. Each of the twelve choruses was analyzed individually. Chapter I of this study presents the purpose of the study, the sub-problems involved, definitions of terms, delimitations, the basic hypothesis of the study, the basic assumptions of the study, methodology and the plan of the report. Chapter II of this study contains a brief biographical sketch of Handel, a discussion of the circumstances surrounding the composition of Messiah, and a survey of the Handelian oratorio Chorus. Chapter III presents the results of the analysis relevant to a discussion of each of the twelve choruses followed by a sectional presentation of the choral problems. In Chapter IV, a summary, some conclusions and recommendations are offered. Appendices A and B present reviews of selected recordings and vocal-piano editions of Messiah respectively.

The purpose of this study is to present a brief history of the work, a discussion of the ornamentation which occurs therein and suggestions for the performance of the ornaments, an analysis covering especially the characteristics of each movement in regard to form and style and inasmuch as possible to show the influence of this early work on the later compositions of J. S. Bach.

Esta dissertação consiste na tradução comentada do tratado L\'Art de Preluder de Jacques Martin Hotteterre - Le Romain (1674-1763), publicado em Paris em 1719. Este trabalho teve como objetivo ampliar a literatura em língua portuguesa para a flauta doce, tornando-o acessível aos estudantes de música e principalmente aos instrumentistas de sopro que se preocupam com uma performance historicamente orientada. Para tanto, foram estudados termos importantes que circundam a Arte de Preludiar de Hotteterre de acordo com as fontes primárias, como os dicionários setecentistas de Furetière e Brossard, e fontes secundárias, como o dicionário de Benoit. A pesquisa de termos indicou a dimensão retórica de diversos conceitos utilizados no tratado, tais como arte, engenho, capricho, princípios, método etc. Além da pesquisa de elementos gerais pertencentes ao estilo barroco francês, uma biografia do instrumentista e compositor, a relação de suas obras e, ainda, o resgate do significado setecentista do gênero musical \"prelúdio\", são partes integrantes deste trabalho. Este trabalho mostra que a técnica de improvisação apresentada por Hotteterre é baseada em práticas francesas e italianas. Esse fato permitiu conhecer uma nova dimensão da influência italiana na música francesa do início do Setecentos. / This work is a commented translation of the treaty L\'Art de Preluder by Jacques Martin Hotteterre Le Romain (1674-1783), published in Paris in 1719. The purpose of this work is to extend the recorder references in Portuguese language, making it accessible to music students and wind musicians that care about historical performance. For that, all-important terms that were used in the treaty were studied with the primary sources, like Brossard and Furetières eighteenth dictionaries, and with secondary sources, like the Benoit Dictionary. This research of terms points to a rhetorical dimension of various terms used in the treated, like art, wit (ingenium), caprice, principles, method, etc. Beyond the research of French styles general elements, a musician composers biography, his works list, and so the eighteenth means of the prelude musical genre, are part of this work. The research points that Hotteterres improvisation technique is based in Italian and French practices. This fact allowed to know a new dimension of the Italian influence in the French early eighteenth century music.

Esta dissertação consiste na tradução comentada do tratado L\'Art de Preluder de Jacques Martin Hotteterre - Le Romain (1674-1763), publicado em Paris em 1719. Este trabalho teve como objetivo ampliar a literatura em língua portuguesa para a flauta doce, tornando-o acessível aos estudantes de música e principalmente aos instrumentistas de sopro que se preocupam com uma performance historicamente orientada. Para tanto, foram estudados termos importantes que circundam a Arte de Preludiar de Hotteterre de acordo com as fontes primárias, como os dicionários setecentistas de Furetière e Brossard, e fontes secundárias, como o dicionário de Benoit. A pesquisa de termos indicou a dimensão retórica de diversos conceitos utilizados no tratado, tais como arte, engenho, capricho, princípios, método etc. Além da pesquisa de elementos gerais pertencentes ao estilo barroco francês, uma biografia do instrumentista e compositor, a relação de suas obras e, ainda, o resgate do significado setecentista do gênero musical \"prelúdio\", são partes integrantes deste trabalho. Este trabalho mostra que a técnica de improvisação apresentada por Hotteterre é baseada em práticas francesas e italianas. Esse fato permitiu conhecer uma nova dimensão da influência italiana na música francesa do início do Setecentos. / This work is a commented translation of the treaty L\'Art de Preluder by Jacques Martin Hotteterre Le Romain (1674-1783), published in Paris in 1719. The purpose of this work is to extend the recorder references in Portuguese language, making it accessible to music students and wind musicians that care about historical performance. For that, all-important terms that were used in the treaty were studied with the primary sources, like Brossard and Furetières eighteenth dictionaries, and with secondary sources, like the Benoit Dictionary. This research of terms points to a rhetorical dimension of various terms used in the treated, like art, wit (ingenium), caprice, principles, method, etc. Beyond the research of French styles general elements, a musician composers biography, his works list, and so the eighteenth means of the prelude musical genre, are part of this work. The research points that Hotteterres improvisation technique is based in Italian and French practices. This fact allowed to know a new dimension of the Italian influence in the French early eighteenth century music.

(Jose Antonio) Carlos de Seixas (1704-1742) is an important figure in the European keyboard music of the beginning of the 18th-century. He composed around 700 sonatas for keyboard, of which only around 105 are known today. They demonstrate a high execution level that can be compared with J. P. Rameau (1683-1764), J. S. Bach (1685-1750), Domenico Scarlatti (1685-1757), Padre Antonio Soler (1729-1783) and other important composers of his time. Like Scarlatti and Soler, Carlos Seixas is positioned in an important transitional period in the history of music. He and his contemporaries are situated between true giants of Western Art Music: before and, in part, during Seixas's life time lived G. F. Haendel (1685-1759) and J. S. Bach (1685-1750); and after Seixas came F. J. Haydn (1732-1809), W. A. Mozart (1756-1791), and L. van Beethoven (1770-1827). During this transitional time in the first half of the eighteenth century, from the baroque to the classical eras, several stylistic trends coexisted--- the baroque, the new galant style, the empfindsamer Stil, and the pre-classical. This essay is divided into four chapters. In Chapter One I discuss the sources for Seixas scholarship followed by a historical overview of seventeenth- and eighteenth- century Portugal as well as a brief biographical sketch of Seixas's life. Chapter Two includes a discussion of Seixas's musical style and form. I examine various facets of his compositional style, including some commonalities found in many composers' works during the transitional period between the Baroque and pre-Classical. I also explore other facets of his keyboard writing such as the use of violin idioms, folkloric sounds, and symphonic textures. In Chapter Three I examine in greater detail Seixas's keyboard writing. I start with descriptions of the instruments that Seixas may have used and of his keyboard writing. I also examine available scholarship for guidelines on performing early eighteenth-century keyboard music in general--including specific approaches to ornaments, articulation, improvisation, rubato, and the like--before turning to Seixas's keyboard sonatas in particular. The last chapter, Chapter Four, includes elements for the analysis of Seixas's sonatas; I choose four of these sonatas for more in-depth analysis of formal and tonal structure. The four selected sonatas represent different formal schemes and stylistic characteristics, which demonstrate the variety within Seixas's solo keyboard pieces. They show great contrasts in form, relationship of movements, and thematic treatment: Sonata No. 16 in C minor presents only one movement in free binary form; Sonata No. 27 in D minor has three movements with no evident relationship among them and toccata elements in the first movement; Sonata No. 42 in F minor also has three movements but the last two movements relate thematically and the first movement presents imitative counterpoint; and Sonata No. 59 in A major represents pre-classical tendencies in texture and structure, presenting three movements connected as a whole through cyclical thematic ideas in the outer movements and a second movement, in A minor, that links to the last movement by means of an open ending. In addition, Chapter Four includes pedagogical insights from an analytical standpoint and annotations for the use of Seixas's sonatas as teaching resources. As part of this chapter's pedagogical resources, I also list additional sources for understanding performance practice of eighteenth-century music, review the available editions of Seixas's solo keyboard compositions, and list the primary performers of his keyboard works. Finally, the appendices to this essay include two cataloguing tables: the first (Appendix A) catalogues a selected group of Seixas's sonatas with detailed descriptions of their technical difficulties, and the second (Appendix B) catalogues all eighty sonatas according to level of difficulty. In addition, the scores of all four sonatas analyzed in Chapter Four are provided in two forms: Appendices C, D, E, and F contain the original Seixas score as edited by Seixas's preeminent scholar Santiago Macario Kastner; Appendices G, H, I, and J contain my performer's scores for the same four sonatas, that is, annotated versions of Kastner's editions.

The theme of this work is a collection of Vesper music Sacrificium vespertinum composed by J. J. B. Münster. It is the print published in Augsburg in 1729. One copy of the print is preserved in the collection of music prints from the Minorite convent in Český Krumlov. However, originally it was given to the Augustinian convent in Borovany. The print contains mainly psalm and Magnificat settings intended for festive Vespers in the style common in the late baroque catholic church music in the Central Europe. All texts are Latin. The operating apparatus includes solo voices, a mixed choir, two violins and an organ. The aim of the work is to describe and place the collection in the context of the music and liturgy of the time. The edition of selected compositions is a part of the work.

Orientador: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T19:46:18Z (GMT). No. of bitstreams: 1 Yansen_CarlosAlbertoSilva_D.pdf: 9019012 bytes, checksum: fc908c58d267fc30aab80a2e1038a796 (MD5) Previous issue date: 2010 / Resumo: Neste trabalho buscou-se a identificação do material composicional como ponto de partida para uma interpretação. Contém ainda sugestões para a resolução de possíveis problemas técnicos e interpretativos relacionados ao Concerto Fribourgeois do compositor Almeida Prado. Justifica-se por contribuir para a arte da interpretação. Para tanto, foi necessário uma breve explanação sobre o Concerto, bem como um breve resumo histórico sobre os títulos dos movimentos. Em seguida, foi feita a identificação do material, sendo ressaltadas características relevantes, relacionadas à textura, ao tempo e à rítmica, à dinâmica, ao timbre, às ressonâncias e à forma, com ênfase no uso do material encontrado. Seguidamente, foi feito um levantamento sobre as dificuldades técnicas da obra e sugestões de solução que possivelmente interfiram na concepção interpretativa da peça. A conclusão traz possíveis interações entre os dados levantados, identifica elementos unificadores e elabora considerações acerca da estrutura da obra, formulando assim a base para uma interpretação. O trabalho ainda possui a obra toda digitalizada e em um de seus anexos, uma redução da grade de orquestra para um segundo piano / Abstract: In this study we sought to identify the compositional material as a starting point for an interpretation. It also contains suggestions for solving possible technical and interpretative problems related to the Fribourgeois Concert by the composer Almeida Prado. Its merit lies in that it contributes to performance. T35 herefore, a short explanation about the concert was necessary which is, in itself, a historic summary of the movement titles. Incluided also is identification of the material of the above mentioned piece highlighting relevant characteristics related to texture, tempo and rythym, dynamics, tone, ressonance and form with enphasis on the material found. Subsequently, a survey of on the technical difficulties of the piece and suggestions were made regarding possible solutions which will possibly interfere in the interpretative conception of the piece. The conclusion brings possible interactions among the data collected, it identifies unifying elements and draws considerations on the structure of the piece concerning the technical difficulties of the instrument, therefore, creating a groundwork for an interpretation. This work has also a digital version of the piece and, in one of the annexes, a reduction of the orchestra grid for a second piano / Doutorado / Doutor em Música