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Constructed in his self-acknowledge hometown of Richland Center, Wisconsin, Frank Lloyd Wright was to work on the A.D. German Warehouse twice during his lifetime. Initially constructed between 1917 and 1921, financial woes on the part of the owner led to a shuttered building. In 1934 Wright worked on an adaptive reuse, but the plans were never to be implemented and German lost the building for good. A careful study of the history of the structure, foregoing todays computers for Wrights triangles, and an analysis of the frieze led me to my own adaptive reuse. The musical characteristics of harmony and countperpoint found powerful expression in the pairings of vertical and horizontal, light and dark, and new and old. These relational tensions resonated with the internal structure of the transformational geometry and created a powerful resolution between the enclosing massive forms of the original Warehouse and my new design. / Master of Architecture

Theoretical constructs latent in thoroughbass treatises of the 18th century can serve students of thoroughbass today. In the following work, I draw from Johann David Heinichen’s Der General-Bass in der Composition (1728), David Kellner’s Treulicher Unterricht im General-Baß (2nd edition, 1737), Johann Mattheson’s Der vollkommene Capellmeister (1739), Friedrich Wilhelm Marpurg’s Handbuch bey dem Generalbasse und der Composition, Carl Philipp Emanuel Bach’s Versuch über die wahre Art das Clavier zu spielen (part 2, 1762), and recent scholarship in the areas of Partimento theory, Musica Poetica, and early music theory in general, to demonstrate how the many thoroughbass figures can all be contextualized in an historically informed theoretical framework. In the first two chapters, (1) thoroughbass figures are analyzed as having an internal hierarchy of primary and auxiliary intervals, allowing chords to be understood both vertically and linearly; (2) chords are localized in the major and minor modes according to bass scale steps; and (3) the various contrapuntal procedures associated with dissonant chords used in both the strict style (stylus gravis) and freer styles (stylus luxurians communis and stylus luxurians theatralis) are analyzed as German musical-rhetorical figures. In chapter 3, these three theoretical constructs are used to organize an extensive collection of dissonant chord progressions derived from the aforementioned treatises of Heinichen, Mattheson, Marpurg, and Bach. In chapter 4, I draw from basic elements of partimento theory—namely cadences, sequences, and the Rule of the Octave (regola dell’ottava or règle de l’octave)—to construct a series of exercises; most of these exercises use a relatively strict four-part texture and are illustrated from multiple righthand starting positions to promote flexibility in the student. Finally, in chapter 5, practical matters of thoroughbass realization, namely pragmatic and expressive concerns, are discussed and illustrated with examples from many treatises of the 17th and 18th centuries.

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O presente trabalho tem por objetivo investigar as possibilidades de aplicação dos principais conceitos da solmização e do contraponto na música inglesa entre os séculos XVI e XVII. Para a realização deste propósito, partindo de uma extensa pesquisa bibliográfica, foram selecionados os tratados de William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) e Christopher Simpson (1667) que foram sistematicamente estudados. Em seguida, selecionaram-se 40 canções compostas pelos autores das preceptivas acima. As peças foram analisadas de forma a verificar se as regras do contraponto e da solmização oferecidas nos tratados possibilitam uma aplicação prática real nos exemplos musicais, e, de forma geral, se os preceitos contidos nos tratados permitem o efetivo aprendizado da solmização e do contraponto. Considerando a escassez de trabalhos em português discorrendo especificamente sobre a solmização e sobre o contraponto na música inglesa, este trabalho oferece uma contribuição relevante para futuros estudos sobre o assunto. / The objective of this study is to investigate the possibilities of the use of the main concepts of solmization and counterpoint in the English music betweeen the XVI and XVII centuries. To this purpose, I carried a comprehensive bibliographical research and then selected and systematically studied the following treatises: William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) and Christopher Simpson (1667). Secondly, I chose and analyzed 40 songs by these authors in order to verify if the rules of counterpoint and solmization presented in the treatises in actual fact enable a practical use in the musical samples and, broadly speaking, if the precepts found in the treatises promote the effective learning of solmization and counterpoint. Taking into consideration the lack of studies in the Portuguese language specifically covering solmization and counterpoint in the English music, this study offers a relevant contribution to future studies on this subject.

This thesis presents an integrated assessment of the life and music of Johanna Beyer (1888-1944) through a combination of socio-cultural and musical analysis. It examines the composer?s biography in the context of the New York music scene in which she participated and the social and cultural paradigms of her time. Contemporary conceptions of gender and sex had a particularly strong impact on Beyer?s work and the reception of her music. Ideologies concerning gender, sex, work, composition and modernism intersected in a variety of ways in her life and music; these issues are examined extensively in Chapter Two. Because gendered thought was so instrumental in obscuring the work of this important composer, Chapters Three and Four provide a thorough and synthesized analysis of Beyer?s music that has thus far been denied to her. These chapters discuss both the composer?s dissonant, ?ultra-modern? music and her later tonal music, exploring elements of continuity and change in her oeuvre. The thesis rejects earlier interpretations of Beyer?s work as disjointed and argues that it is instead the product of a constantly evolving composer.

Ioannes Fuxius per Aevum quod dicitur Baroccum, quo tempore gustus musici celeriter mutabantur, musicum enchiridion palmare, cui titulus Gradus ad Parnassum, edidit. Quo libro modos musicos componendi ratio aetate artium renatarum exorta cum ratione aevo Barocco usitata coniungitur. Auctor historiam artis musicae, vocabula artis propria, normas hoc opere docet per dialogum Latinum et faberrime scriptum, qui inter Palestrinae personam et eam discipuli personam, quam auctor ipse agit, habetur. At nostris temporibus Fuxius innotuit, quod quasi ante omnium oculos regulas uniuscuiusque Speciei Contrapuncti posuit. Liber eius igitur in multos sermones vernaculos est versus etiam paucis annis post primam divulgationem. Nunc temporis quoque in scholis musicis in omnibus orbis terrarum partibus sitis docetur. Hanc commentatiunculam paravi in usum discipulorum qui capita, ubi Species Contrapuncti duarum vocum enodantur, Latino sermone primigenio atque perlucido legere vellent. During the Baroque Era, a time of quickly-changing musical tastes, Johann Fux wrote a seminal music composition textbook, the Gradus ad Parnassum, that bridges the gap between Renaissance Counterpoint and High Baroque Style. Through the beautifully-written, Latin dialog between a teacher (in the persona of Palestrina) and a student (Fux himself), the author teaches the reader about the history, nomenclature and norms of composition. Today the name Fux is synonymous with Species Counterpoint and his celebrated text, translated into many vernacular languages within years of its first publication, is read in music-theory classrooms around the world. This commentary is prepared for the use of students who wish to read the chapters on two-voice Species Counterpoint in the original, and highly accessible Latin.

O presente trabalho tem por objetivo investigar as possibilidades de aplicação dos principais conceitos da solmização e do contraponto na música inglesa entre os séculos XVI e XVII. Para a realização deste propósito, partindo de uma extensa pesquisa bibliográfica, foram selecionados os tratados de William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) e Christopher Simpson (1667) que foram sistematicamente estudados. Em seguida, selecionaram-se 40 canções compostas pelos autores das preceptivas acima. As peças foram analisadas de forma a verificar se as regras do contraponto e da solmização oferecidas nos tratados possibilitam uma aplicação prática real nos exemplos musicais, e, de forma geral, se os preceitos contidos nos tratados permitem o efetivo aprendizado da solmização e do contraponto. Considerando a escassez de trabalhos em português discorrendo especificamente sobre a solmização e sobre o contraponto na música inglesa, este trabalho oferece uma contribuição relevante para futuros estudos sobre o assunto. / The objective of this study is to investigate the possibilities of the use of the main concepts of solmization and counterpoint in the English music betweeen the XVI and XVII centuries. To this purpose, I carried a comprehensive bibliographical research and then selected and systematically studied the following treatises: William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) and Christopher Simpson (1667). Secondly, I chose and analyzed 40 songs by these authors in order to verify if the rules of counterpoint and solmization presented in the treatises in actual fact enable a practical use in the musical samples and, broadly speaking, if the precepts found in the treatises promote the effective learning of solmization and counterpoint. Taking into consideration the lack of studies in the Portuguese language specifically covering solmization and counterpoint in the English music, this study offers a relevant contribution to future studies on this subject.

No description available.

Der Unterricht ›Polyphonie XVe– XVIIe siècles‹ wurde 1992 von Xavier Darasse gegründet, Rektor des CNSMD in Paris, und von Anfang an den Autor übertragen. Es handelt sich um eine der fünf Disziplinen der Spezialisierung ›écriture musicale‹ (Harmonie, Kontrapunkt, Fuge und Formen, 20.–21. Jahrhundert) und die einzige, die auf ein älteres Repertoire eingeht. Sie lebt von einem sehr offenen Geist und stützt sich grundsätzlich genauso auf alte wie auf aktuelle musikalische und theoretische Quellen. Das Repertoire, das erarbeitet wird, erstreckt sich in etwa über die Jahre 1475–1625, also über 150 Jahre. Die Werke, die als Modelle für die Komposition dienen, stammen sowohl von richtungsweisenden Komponisten wie Josquin, Lassus, Palestrina, Guerrero, Marenzio oder Monteverdi wie auch von Meistern spezieller Kompositionen wie dem englischen Madrigal oder dem deutschen polyphonen Choral. Ansonsten wird das Repertoire, das erarbeitet wird, fast jedes Jahr neu aufgestellt. In der Abschlussprüfung muss der Prüfling der Jury drei Werke präsentieren: ein mehrchöriges Stück (8 oder 12 Stimmen), in der Regel geistlich, ein kurzes, technisch anspruchsvolles Stück (z.B. ein komplexer Kanon) und ein Stück mit vier oder fünf Stimmen, das einem sehr charakteristischem Genre zuzuordnen ist (z.B. ein Madrigal), das in der ›mise en loge‹ erarbeitet wird. Dem Text und seinem Bezug zur Musik im Kontext der freien Künste und besonders der Rhetorik werden große Aufmerksamkeit geschenkt, vor allem dargestellt von den deutschen Musiktheoretikern der Renaissance. Das Curriculum folgt einem sehr radikal fortschreitendem Weg und geht dabei von einem einfachen Kontrapunkt zu zwei Stimmen (gesungen oder geschrieben) zum ›fleuri‹ mit 8 oder 12 Stimmen über. Ein Unterricht dieser Art sieht sich als Ergänzung der anderen Disziplinen der Komposition und bemüht sich, die Kenntnis des ›klassisch‹ genannten Repertoires auf älteren notwendigen und ausreichenden Basen zu festigen. / The author of this article had the privilege of taking the course Polyphonie XVe– XVIIe siècles, which was founded in 1992 by Xavier Darasse, Rector of the CNSMD in Paris, from its inception. The course deals with one of the five specialized disciplines of écriture musicale (harmony, counterpoint, fugue and form, 20th – 21st century); it is also the only course that includes early music. It is infused with a very open spirit and makes use of both older and newer musical and theoretical sources. The repertoire examined in the course ranges from 1475 to 1625 and thus over 150 years. The works that serve as compositional models also stem from significant composers like Josquin, Lassus, Palestrina, Guerrero, Marenzio, and Monteverdi, as well as masters of specific genres like the English madrigal or the German polyphonic chorale. Moreover, the repertoire treated in the course changes almost every year. In the final examination the candidate must present the jury with three works: a polychoral piece (8 or 12 voices; generally sacred); a brief, technically demanding pieces (e.g. a complex canon), and a piece with four or five voices taken from a specific genre (e.g. a madrigal), which is written in isolation (mise en loge). Great attention is paid to the text and its relation to the music in context of the liberal arts and especially rhetoric as represented by German music theorists of the Renaissance. The curriculum follows a radically progressive path and goes from simple counterpoint in three voices (sung or written) to florid counterpoint with 8 or 12 voices. Instruction of this kind can be understood as complementary to other compositional disciplines and attempts and provide a traditional and most necessary foundation for knowledge of the above-named “classical” repertoire.