In this study I research and reflect on my way to embellish music from the baroque. I focus on Georg Phillipe Telemanns music. I work with embellishments in the second movement (Larghetto) from Solo X, Essercizii musici (Hamburg (1740)) for recorder and basso continuo (TWV 41:C5). I try diffrent versions to embellish this movement. I record these versions and enclose a score with all diffrent versions. I do these versions after I have worked with diffrent bakground information connected to this movement. What is it that affects my embellishments? One question is how does Telemann do in his Sonate metodiche? What does this mean to me? Do I want to copy Telemanns way of embellishing? / <p>Jana Langenbruch - blockflöjt</p><p>Elin Nilsson - barockfiol</p><p>Sandra Marteleur - barockfiol</p><p>Andrea Ravandoni - barockviola</p><p>Stina Petersson - barockcello</p><p>Sarah Nygren - barockkontrabas</p><p>Marcus Mohlin -cembalo</p><p></p><p>Musik:</p><p>Nicola Fiorenza (efter 1700 - 1764) Konsert i a-moll Grave, Allegro, Largo e staccato, Allegro assai</p><p>Georg Philipp Telemann (1681 - 1767) Konsert i C-dur - TWV 51:C1 Allegretto, Allegro, Andante, Tempo di Minuet</p><p></p><p>Inspelningar Larghetto ur TWV 41:C5: Jana Langenbruch - blockflöjt (2014)</p>

Thesis (D.Mus. Arts)--University of Washington, 1987. / Vita. Bibliography: leaves [202]-204.

A dissertação aqui apresentada busca compreender as dinâmicas que envolvem as intervenções urbanísticas englobadas no projeto Porto Maravilha, sobretudo os discursos focados no embelezamento. O processo de implantação do projeto é iniciado no ano de 2009 na Região Portuária do Rio de Janeiro, alvo de discursos assentados no léxico da decadência. A abordagem metodológica deu-se por meio da sistematização de materiais da imprensa, da gestão pública e de guias de turismo, bem como do trabalho de campo, analisado a partir da perspectiva situacional e realizado em eventos oficiais, entre vendedores ambulantes na roda de samba da Pedra do Sal e na participação de espetáculos que lidam com uma complexa relação entre o projeto e grupos artísticos locais. O atual período nesse cenário é compreendido como uma possibilidade de acessar questões sobre as transformações no contexto contemporâneo do Rio de Janeiro, no qual as mudanças urbanísticas observadas possibilitaram a análise de um momento que torna latentes certos conflitos e percepções de cidade, como o fomento da atividade turística e o discurso de retorno ao centro e aos seus patrimônios. / The following dissertation seeks to comprehend the dynamics which involves the urbanistic interventions embraced by the Porto Maravilha project, especially the discourses focused on embellishment. The process of implantation of this project was initiated in 2009 at the port area of Rio de Janeiro, target of discourses focused on the lexicon of decadence. The methodological approach was given by a systematization of press material, public management and tourist guides, as well as field work, analyzing from the situational perspective and performed at official events, amongst street vendors at the Pedra do Sal samba gatherings and by participating on spectacles which deals with a complex relation amongst the project and local artistic groups. The current period in this scenery is comprehended as a possibility to access questions about the transformations on the contemporary context of Rio de Janeiro, when urbanistic changes allowed the analysis of a moment which makes latent certain conflicts and perceptions of the city, such as the promotion of touristic activities and the discourse of \"return\" to the city center and its patrimonies.

The lecture recital was given July 22, 1974. A discussion of the tientos of Cabezon, Aguilera de Heredia, Coelho, Correa de Arauxo, and Cabanilles included an analysis of eight specific works, a comparison of styles, and information about performance practices. The eight works were then performed. In addition to the lecture recital three other public recitals were performed, consisting entirely of solo literature for the organ. The first solo recital, on July 2, 1971, included works of Titelouze, deGrigny, Franck, and Alain. The second solo recital, on June 18, 1973, consisted of works by Bach, Klebe, Bruhns, Reger, Heiller, and Liszt. The final solo program, on June 7, 1974, included works by Boyvin, Buxtehude, Mozart, Alain, and Reger. All four programs, recorded on magnetic tape, are filed, along with the written version of the lecture material, in the North Texas State University library.

During the first half of the twentieth century the trumpet has gained its position as a solo instrument, even surpassing its esteemed position in the High Baroque Era. With the combined efforts of performers like Herbert L. Clark, Ernest S. Williams, and Joseph Arban, and the efforts of the French school of trumpet playing, notably those of Raymond Sabarich, the trumpet has risen from a mere accompanying instrument of the Classical Period and early Romantic Era to its present place as an expressive solo instrument. In this relatively new position the trumpeter is faced with one serious problem: that is one of limited literature. The trumpeter of today is almost compelled to perform either works of the Baroque Era or solos written within the last thirty years.

The lecture was given on April 21, 1980. The problem with which this investigation is concerned is that of gathering information on the composer Johann Hummel, the performer Anton Weidinger, the keyed trumpet, for which the concerto was written, the concerto itself, and its ornaments, and in determining the correct performance practices of the ornaments. Sources written in the middle to late eighteenth century and from the first third of the nineteenth century gave valuable insight into the facts and attitudes concerning the composer, the performer, the instrument, and the concerto in question. Other information came from present day authorities writing in texts, periodicals, and reference works.

This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli.

The graduation thesis is focused on the phenomenon of Embellishment and by using a case study particulary researches the Association for Embellishment in Jílové u Prahy. The subject of my study is related character of former and present Association. Using a semi-structured interview process, I have attempted to find out how important local cultural tradition is for civic members and how far it is only a formal pattern for resumption of association's activities after 1989. I also tried to determine how the present Association deals with a current environmental issues and how it is used in practice.

No description available.