Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-22T22:39:46Z (GMT). No. of bitstreams: 1 Gatti_Patricia_M.pdf: 2921127 bytes, checksum: eaa1c8714850f2f8b9202dfa4a095122 (MD5) Previous issue date: 1997 / Resumo: Este trabalho propõe uma abordagem para a análise da música barroca, baseada na chamada ¿teoria dos afetos¿. A análise musical referenciada nessa perspectiva é aplicada a algumas das Pièces de Clavecin de François Couperin. Os textos chave utilizados foram o Tratado das Paixões da Alma e o Compendium Musicae, de Descartes, como base do pensamento de época no tocante aos afetos; e parte da obra Der Vallkommene Capellmeister, de J. Mattheson, bem como outros tratadistas que ofereceram as formulações da doutrina dos afetos, base do pensamento musical do barroco, ou seja: a música entendida como representação das paixões e emoções humanas. Neste trabalho realizou-se o levantamento dos afetos ou paixões, conforme são definidos por Descartes e como são apropriados pelos tratadistas musicais. Em um segundo passo, buscou-se sistematizar a expressão musical para cada sentimento e diferentes estados de espírito, seguindo as observações e indicações dos tratadistas. A partir dessas leituras obteve-se subsídios suficientes para uma análise de peças de Couperin, demonstrando o uso coerente dos elementos musicais na expressão dos afetos tendo em vista as suas intenções expressivas explicitadas nos títulos, de acordo com as proposições teóricas mencionadas / Abstract: Not informed. / Mestrado

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.

This dissertation considers Gervais-François Couperin (1759-1826) and his offertories, providing a performance guide relevant to French organ literature of the beginning of the nineteenth century. To fulfill this purpose, the research is divided into five chapters and a conclusion. Chapter 1 is an introduction explaining the purpose of the research and significance of the research. Chapter 2 presents the Couperin Dynasty and their lineage at Saint-Gervais, as well as the evolution of the musical market in the middle of the eighteenth century in Paris, which influenced Gervais-François Couperin's Offertories. Chapter 3 to Chapter 6 present the performance guide to playing Gervais-François Couperin's offertories: Chapter 3 focuses on the significant development of the French organ building in the 1800s and the registration of Grand-Jeu. Chapter 4 deals with the addition of the pedal, and Chapter 5 focuses on embellishment using tremendo (tremolo) and arpegio (arpeggio). Lastly, Chapter 6 offers a guide for adding manual indications where the score did not include them or in places where ambiguities remained. Synthesizing these elements, a newly edited full score of Gervais-François Couperin's Offertory in G Minor is provided in Chapter 7 to exemplify this dissertation's conclusion.

The alternatim practice is one of the oldest and longest observed liturgical practices in the French Catholic Church. With the gradual addition of the organ to the practice beginning in the fifteenth century, the organ came to play an important liturgical function that exists to this day. Organ improvisations in the liturgy gave rise to composed organ masses such as those of François Couperin (1668-1733). Composition of the Baroque organ mass continued through the Classical period and into the nineteenth century. Liturgical and musical changes through the decades of the nineteenth century, however, led to a gradual cessation of the composition of organ masses. These same changes gave birth to a new type of liturgical mass that, while not performed in the traditional alternatim style, displayed stylistic and liturgical influences from the Baroque organ masses of the preceding centuries. Messe, op. 4, of Camille Saint-Säens (1835-1921) was composed in 1856 in the midst of nineteenth-century changes and reforms. This mass is the pivotal event between the masses of the preceding generation and those that were to follow, notably those of Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937). Because the viva-voce presentation of this document featured a performance of Louis Vierne's Messe solennelle, op. 16 using a solo organ edition of the work, Appendix A includes considerations for the work as well as an overview of four solo editions.

At the end of nineteenth century, as a result of the revival of the early music, harpsichord, the most important instrument in the Baroque period, was emphasized again and back to the stage. However, without any recordings been made and left, the scores and the documents became the significant references for the interpretation. This study will discuss about the performance practice issues in French composer François Couperin¡¦s treatise ¡§L¡¦art de toucher le clavecin¡¨. The representative of Couperin¡¦s work is his four harpsichord books. In his 1716¡¦s treatise ¡§L¡¦art de toucher le clavecin¡¨, he explained the performance practice issues of his harpsichord music. The discussion includes the body gesture, articulation, tempo, characteristic of the instrument, ornamentation, fingering, notes inégales and the tradition of prelude. Moreover, he composed eight preludes and put them at the end of the treatise for practicing. Although the treatise was not the only one which discussed about harpsichord at that time, it is rare that composers wrote instruction for other musician in order to interpret his own music. This study includes three parts. First, the development of the harpsichord music in baroque period and François Couperin¡¦s life are introduced. The second part explicate the historical background of the François Couperin¡¦s four harpsichord collections, eight preludes and ¡§L¡¦art de toucher le clavecin¡¨. The third part focuses on discussion of the performance practice. Finally, the conclusion will be made.

xviii, 293 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The synthetic, historically sensitive, analytic method of this dissertation illuminates relationships between pattern and meaning in François Couperin's Pièces de Clavecin --character pieces firmly rooted in traditions of literary portraiture. The method combines aspects of Schenkerian analysis, Gjerdingen's style-sensitive schema, Larson's theory of musical forces, and Lakoff and Johnson's cognitive metaphor theory. It suggests that manipulation of recognizable musical patterns--the manner with which patterns are realized or even withheld--and their narrative contexts may give rise to responses heard as metaphorically reflecting Couperin's evocative titles. Two questions motivate this investigation: Why the virtual absence of François Couperin from modern theoretical discourse? How does musical meaning arise with Couperin's musical portraits? After describing my analytic method, I illustrate its application with several short examples. I then offer two in-depth case studies of different formal structures: an extended theme and variations and an independent binary piece. My findings relate pattern to musical "vocabularies", to context and expressive meaning, and to the theory and practice of music analysis. The focus on pattern illuminates the interaction of vocabularies in Couperin's music--including those of the seventeenth-century French keyboard tradition, the emerging Italian galant style, and the increasingly tonal "high styles" of eighteenth-century church, chamber, and court music. It illustrates how patterns contribute to expression and affect--as well as how they interact with ideas, concepts, or images associated with Couperin's evocative titles. Pattern-based analyses demonstrate that different contexts can give the same pattern different meanings--supporting (rather than contradicting, as others have suggested) the argument that music can have meaning; instead of a single meaning, we encounter a plurality of possibilities. The synthetic analytic approach of this dissertation is ideal for Couperin's music in particular but also for the galant style in general. Moreover, the combination of methods itself illuminates the power and meaning of each individual contributing element. and exemplifies the advantages of (and flexibility inherent to) an analytic method consonant with Lakoff and Johnson's cognitive metaphor theory, suggesting the analytic potential of a synthetic approach for an even broader set of styles. / Committee in charge: Steven Larson, Co-Chairperson, Music; Stephen Rodgers, Co-Chairperson, Music; Lori Kruckenberg, Member, Music; Marc Vanscheeuwijck, Member, Music; Mark Johnson, Outside Member, Philosophy

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François Couperin (1668-1733) was one of the earliest French Baroque composers to merge the Italian style into the French tradition. He had great influence on the development of French Baroque music from the end of the seventeenth century until his death. Couperin's four Concerts Royaux and the ten Concerts Nouveaux (published in 1722 and 1724) were written for the enjoyment of Louis XIV. Those suites were popular in the court before they were published, as they were requested to be performed every Sunday during the years 1714 and 1715 to give pleasure to the king. Rittrato dell'amore is the ninth suite out of the fourteen suites. The purpose of this study is to provide a performance guide and a practical edition of François Couperin's Neuvième Concert Ritratto dell' amore. It also contrasts Italian style and French tradition in the Baroque period, and how Couperin blended both styles together in his Neuvième Concert. In addition, this dissertation summarizes the general principles of Baroque performance practice that one may encounter in Neuviéme Concert, including notes inégales (unequal notes), ornamentation, over-dotting, and other issues. It is especially important for one to understand the performance style of French Baroque music in order to perform these works appropriately, since its notation did not adequately notate rhythmic expectations as traditionally understood and the realization of ornamentations in this period and style is highly specific. The tradition was indeed lost in terms of aural transfer and has been reconstructed through published scholarly work in the last century that is based on treatises of the time. Ongoing scholarly and artistic work should bring us ever closer to the ideals of the period.

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