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Thesis (Ph. D.)--Rutgers University, 2010. / "Graduate Program in Literatures in English." Includes bibliographical references (p. 243-256).

The lecture recital was given April 16, 1971. An Excellent Meane, six settings of Gloria Tibi Trinitas, Eterne rerum conditor, and Te Deum laudamus by William Blitheman, In Nomine by John Taverner, and Ecce tempus idonem by Thomas Tallis were performed, together with a choir of four men's voices, following a lecture on various aspects of organ music in early Tudor England. In addition to the lecture recital, three other public recitals, all solo programs, were performed. The first solo recital, including works of Dietrich Buxtehude, Johann Sebastian Bach, Paul Hindemith, and Max Reger, was performed on March 14, 1971. On October 23, 1972, the second solo recital was performed. The program included compositions by Olivier Messiaen, Johann Sebastian Bach, Cesar Franck, and Charles-Marie Widor. On October 17, 1977, the third solo recital, including works by Johann Sebastian Bach, Girolamo Frescobaldi, Johann Jacob Froberger, Dietrich Buxtehude, James Hathaway Tallis, and Maurice Durufle, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.

The English classical song is peculiarly native to Britain. It roots in the mystic elements of ballads and nature. It was the influence of the early English ballad, first spoken, then sung, then joined in the happy culmination of voice and melody to make a song that is immortal and unique in music.

A presente pesquisa contempla a teoria e a prática da música instrumental do século XVIII, sobretudo na Inglaterra, sob o ponto de vista da obra teórica do violinista, compositor e tratadista italiano Francesco Geminiani (1687-1762). O trabalho objetiva comentar e traduzir - pela primeira vez em língua portuguesa - a integral da obra teórica desse autor: Rules for Playing in a True Taste (c.1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniament (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758) e The Art of Playing the Guitar or Cittra (1760). A escolha de Geminiani se deve ao fato de seus sete escritos se alinharem a importantes preceptistas filosóficos, como Batteux, Montesquieu e Hume, e musicais, como Quantz, C. P. E. Bach e L. Mozart. Além disso, dissertam sobre aspectos importantes da música setecentista sob os pontos de vista prático (como a performance em instrumentos como violino, violoncelo, cravo - com ênfase no baixo contínuo -, cistre e traverso) e teórico (com discussões sobre o ensino e o aprendizado de harmonia, além de discutir, em toda sua obra, o conceito de bom gosto em música). As análises e estudos oferecidos em forma de comentários, bem como as traduções aqui presentes não só permitirão o leitor atual a observar a obra de Geminiani inserida em seu contexto histórico-filosófico-musical adequado, mas também fornecerão ferramentas importantes para pesquisas posteriores sobre o tratadista e a música do século XVIII. / The current study addresses the theory and practice of instrumental music of the eighteenth century, especially in England, from the perspective of the theoretical work of the Italian violinist, composer, and writer Francesco Geminiani (1687-1762). The aim of the present study was to comment and translate - for the first time into the Portuguese language - the complete theoretical works by this author: Rules for Playing in a True Taste (c. 1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniment (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758), and The Art of Playing the Guitar or Cittra (1760). Geminiani was chosen because his seven written works are aligned with important preceptists of philosophy, such as Batteux, Montesquieu, and Hume, and of music, such as Quantz, C. P. E. Bach, and L. Mozart. In addition, the discourse about important practical elements (the playing of instruments such as the violin, cello, or harpsichord - with an emphasis on basso continuo -, cittern, and traverso) and theoretical aspects (including discussions about teaching and learning harmony, and the concept of good musical taste) of eighteenth century music. The analyses and studies, provided as comments, and the translations in the present study will not only allow current readers to view Geminiani\'s work within its adequate historical-philosophical-musical context, but will also provide important tools for subsequent studies on Geminiani and the music of the eighteenth century.

The submission focuses on the performance of violin works that incorporate elements of folk music. It investigates some of the ways in which traditional folk melodies are utilised in violin repertoire and considers the implications for performance. It recognises that when performing music inspired by folk idioms the classical violinist often needs to adopt a different set of technical and musical objectives relevant to the cultural origin of the work. The submission takes the form of two CD recordings with a supporting exegesis. The exegesis discusses those aspects of the performances that stem from the cultural traditions to which the repertoire is related. Due to the broad nature of this topic my investigation was confined to selected works that stemmed from English and Hungarian traditional music. The exegesis examines the relevance of the research and the application of these discoveries in performance. The main focus is the incorporation of traditional Hungarian characteristics in the performance of Bartók’s Rhapsody No 2 for Violin and Piano, and Kodály’s Duo for Violin and Violoncello, Op 7. Discussion then moves to Vaughan Williams’s The Lark Ascending and the differences required to recreate the sound of the traditional English fiddler. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

A presente pesquisa contempla a teoria e a prática da música instrumental do século XVIII, sobretudo na Inglaterra, sob o ponto de vista da obra teórica do violinista, compositor e tratadista italiano Francesco Geminiani (1687-1762). O trabalho objetiva comentar e traduzir - pela primeira vez em língua portuguesa - a integral da obra teórica desse autor: Rules for Playing in a True Taste (c.1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniament (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758) e The Art of Playing the Guitar or Cittra (1760). A escolha de Geminiani se deve ao fato de seus sete escritos se alinharem a importantes preceptistas filosóficos, como Batteux, Montesquieu e Hume, e musicais, como Quantz, C. P. E. Bach e L. Mozart. Além disso, dissertam sobre aspectos importantes da música setecentista sob os pontos de vista prático (como a performance em instrumentos como violino, violoncelo, cravo - com ênfase no baixo contínuo -, cistre e traverso) e teórico (com discussões sobre o ensino e o aprendizado de harmonia, além de discutir, em toda sua obra, o conceito de bom gosto em música). As análises e estudos oferecidos em forma de comentários, bem como as traduções aqui presentes não só permitirão o leitor atual a observar a obra de Geminiani inserida em seu contexto histórico-filosófico-musical adequado, mas também fornecerão ferramentas importantes para pesquisas posteriores sobre o tratadista e a música do século XVIII. / The current study addresses the theory and practice of instrumental music of the eighteenth century, especially in England, from the perspective of the theoretical work of the Italian violinist, composer, and writer Francesco Geminiani (1687-1762). The aim of the present study was to comment and translate - for the first time into the Portuguese language - the complete theoretical works by this author: Rules for Playing in a True Taste (c. 1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniment (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758), and The Art of Playing the Guitar or Cittra (1760). Geminiani was chosen because his seven written works are aligned with important preceptists of philosophy, such as Batteux, Montesquieu, and Hume, and of music, such as Quantz, C. P. E. Bach, and L. Mozart. In addition, the discourse about important practical elements (the playing of instruments such as the violin, cello, or harpsichord - with an emphasis on basso continuo -, cittern, and traverso) and theoretical aspects (including discussions about teaching and learning harmony, and the concept of good musical taste) of eighteenth century music. The analyses and studies, provided as comments, and the translations in the present study will not only allow current readers to view Geminiani\'s work within its adequate historical-philosophical-musical context, but will also provide important tools for subsequent studies on Geminiani and the music of the eighteenth century.