Thesis (M.M.)--University of Wisconsin--Madison, 1947. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 85-86).

Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yra prieinamos apie 500. D. Scarlatti savo sukurtas klavesinines kompozicijas pavadino „Essercizi per Gravicembalo“ (etiudai, pratimai, bipartitos klavesinui). Daugelis šių sonatų kompozitoriui praversdavo jo pedagoginiame darbe. Savo sukurtose sonatose D. Scarlatti techninius uždavinius derindavo su meniniu turiniu. Nors italų meistro klavyriniai kūriniai pavadinti sonatomis, tačiau, pagal jose esančius įvairiems žanrams būdingus bruožus, kompozicijas galime suskirstyti į svarbiausius mokyklinio repertuaro žanrus: polifoninės sandaros kompozicijas, etiudus, stambios formos tipo kūrinius bei įvairaus pobūdžio pjeses. Kompozitorius kaip tikras virtuozas ir revoliucionierius buvo daugelio naujovių savo klavesininėje kūryboje bei jos atlikime skleidėjas. Jo kūryboje užfiksuoti tokie pasiekimai kaip: žėrinčių gamų per kelias oktavas pasažai, įvairiausios faktūros arpeggio (trumpi ir laužyti)... [toliau žr. visą tekstą] / Domenico Scarlatti (1685-1757) – one of the most famous Baroque epoch italian composer, harpsichordist, organist, pedagogue and performer. His harpsichord creativity is undoubted XVIII century phenomenon of music culture. D. Scarlatti piano works are realted to the period, when homophonic music language came over polyphonic style. Though the composer created various kind of compositions, the most important part of creativity is the harpsichord sonatas. These pieces monumentalized the name of the italian composer into the history of music life. He created more than 600 harpsichord sonatas, but today there are only about 500 available to performers. D. Scarlatti‘s harpsichord compositions named by him self „Essercizi per Gravicembalo“ (etudes, exercises, bipartitas for harpsichord). Most of these sonatas were useful in composers pedagogic work. In his sonatas, D. Scarlatti has associated technical exercises with artistical matters. Piano pieces of the italian maestro were titled by the name of sonatas, but of the features existent in them, we can collect these compositions into most important genres in music school repertoire: polyphonic structure compositions, etudes, big forms type pieces and various kind of plays. The composer was a spreader of this many novelty in his harpsichord creativity work and in performing it like a really virtuoso and big revolutionist. His works include such achievements as: sparkling scale passages through several octaves, various kind of... [to full text]

Th.--Paris IV. / Bibliogr. p. 333-342. Index.

Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce irregular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once.

The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.

No description available.

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

The purpose of this paper is to identify Spanish elements in the sonatas of Domenico Scarlatti and to determine the extent of their use. All 555 sonatas in facsimile edition, edited by Ralph Kirkpatrick, were compared to the printed anthologies of Spanish folk music by Kurt Schindler and Felipe Pedrell as well as recordings of authentic Spanish folk music. The study concludes that Scarlatti incorporated Spanish musical elements extensively. In some sonatas, fragments of folk tunes occur, but always with some rhythmical alterations or melodic elaborations. Only K. 513 contains an entire folk tune. Scarlatti evidently wrote melodies of folk-like quality and did not merely copy the folk tunes.