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.

Der Kemptener Organist und Komponist Matthias Waldhör (1796–1833) ist nur noch aufgrund der starken Verbreitung seiner Neuen Volks-Gesang-Schule von 1830 bekannt, die sich in der ersten Hälfte des 19. Jahrhunderts vor allem im Alpenraum großer Beliebtheit erfreute. Weniger bekannt ist seine Theoretisch-practische Clavier-, Partitur-, Präludier- und Orgel-Schule aus den späten zwanziger Jahren des 19. Jahrhunderts, die nur noch sehr selten in Musikbibliotheken nachweisbar ist. Der dritte, 1827 erschienene Teil dieser Schule ist nahezu ausschließlich musiktheoretischen Fragestellungen gewidmet; seine geringe Verbreitung verwundert angesichts der stolzen Zahl von immerhin 900 Subskribenten. / Today the Bavarian organist and composer Matthias Waldhör (1796–1833) is well known because of the dissemination of his Neue Volks-Gesang-Schule, printed in 1830 and read very broadly in the first half of the nineteenth century, especially in the Alpine region. His Theoretisch-practische Clavier-, Partitur-, Präludier- und Orgel-Schule from the late 1820s is less known – and a rare book in music libraries and archives. The third part of it, published in 1827, is exclusively dedicated to aspects of music theory; the small circulation astonishes – because of the high number of more than 900 subscriptions.

The Marian songs of Sepekov is the title for a handwritten Hymnal, which nobody comprehensivly examined and never publish. I discovered this manuscript when I was researching materials for my Bacherol thesis. The hymnal contains 489 czech-language pages from which I composed 43 songs with the organs accompaniment or songs in a four-part adjustment. The transcript od melodic line, next processing of melody and composition of polyphony give the readers an insight into the period of the formation of manuscript and it zooms miracles for which the manuscript was created. The historical events, which were accured in 18th century in Sepekov and were an integral part of the life of people from sepekov, are component of Marian songs. The whole Hymnal is built on devotion, supplication, prayers and the love of the pilgrims to Pana Marie from Sepekov. The pilgrimages, which they performed to this marian's place, were a seal of approval of their belief and it was culmination of their spiritual life for most of them.

Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T23:18:38Z (GMT). No. of bitstreams: 1 Rosa_StellaJocelinaAlmeida_M.pdf: 8868389 bytes, checksum: c5eca93c5b6405115e9d07d8b3208c78 (MD5) Previous issue date: 2007 / Resumo: A presente dissertação de mestrado tem como assunto principal aspectos teórico-práticos da realização de baixo contínuo, abordando-os através do estudo do conjunto de documentos deixados por J.S.Bach acerca do tema. O primeiro grupo de instruções, que recebeu especial atenção neste trabalho, data de 1725, e aparece nas páginas finais do volume de peças dedicado a sua esposa Anna Magdalena Bach. Intituladas ¿Algumas Regras do Baixo Contínuo¿, são quinze regras para a iniciação ao assunto, com finalidade didática e destinada ao uso imediato de alunos e familiares. O segundo grupo, de 1738, é um trabalho mais robusto e abrangente, resultado dos anos de atividade pedagógica de Bach em Leipzig, e leva o título ¿Preceitos e Princípios para tocar o Baixo Contínuo ou Acompanhamento a Quatro Vozes¿. Para um esclarecimento geral do assunto, recorreu-se a um estudo sobre as origens do baixo contínuo, apresentando um capítulo sobre as suas primeiras fontes históricas. A reflexão sobre o processo prático da execução de baixo contínuo, que foi objetivo principal da pesquisa, deu-se através da elaboração de uma série de exemplos musicais enfocando obras de música de câmara instrumental do compositor, além de uma análise do ¿Largo e Dolce¿, segundo movimento da Sonata em Si menor para flauta e cravo BWV 1030, cuja escrita para o último instrumento é considerada um modelo de realização de baixo contínuo do próprio Bach. O processo culminou na interpretação de obras do compositor de acordo com essas reflexões, e acredita-se que elas contribuam para o entendimento e execução de obras musicais escritas nessa linguagem / Abstract: The present dissertation has, as its main subject, the theoric and pratic aspects of figured bass realization, with a view from J.S.Bach¿s documents about it. The first group of instructions, which one has received special attention in this work, dates from 1725, and belongs to the final pages of Anna Magdalena Bach¿s notebook. ¿Some Rules of Thorough-Bass¿ are fifteen rules for the beginning in the matter, with didactic intentions and destined for his students and family¿s circle. The second group, from 1738, is a bigger and including work, resulting from his years of teaching in Leipzig, entitled ¿Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts¿. A study about the origins of the thorough-bass and its first historical sources is presented as a general understanding about the subject. As a main objective of the research, series of musical examples were developed to reflect about the pratic process of playing thorough-bass. They include works of instrumental chamber music by Bach, besides an analysis of the Largo e Dolce, second movement of the B minor Sonata for flute and harpsichord BWV 1030, in which the harpsichord part is considered a model for figured bass realization. The end of the work comes with the interpretation of the composer¿s music under these reflections, and we believe that they are a contribution for the understanding and execution of musical pieces written under this language / Mestrado / Mestre em Música

No description available.

xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

Entre 1750 et 1800, l’émergence et l’adoption de nouveaux genres musicaux et modèles stylistiques, bouleversent la pratique de l’accompagnement au clavier en France. La basse chiffrée se raréfie dans les œuvres gravées et cède progressivement le pas à des parties de clavier entièrement écrites dans la musique vocale. La première partie de cette thèse définit la place de l’accompagnateur et l’évolution de la notation. La seconde est consacrée à l’enseignement dispensé par les méthodes et traités, et établit des passerelles avec les écoles étrangères et le siècle suivant. Enfin, la troisième partie reconsidère la question de l’accompagnement dans les sonates pour clavier et violon. La confrontation des écrits théoriques et des partitions trouve une application directe dans la pratique de la basse continue et de l’accompagnement au clavier, et permet de proposer des modèles de réalisation conformes aux caractéristiques observées dans les œuvres de cette période. / Between 1750 and 1800, the emergence and adoption of new musical genres and stylistic models radically change the accompaniment practice on keyboard instruments in France. Figured bass becomes scarce and is gradually replaced by written-out keyboard parts in vocal music. The first part of this thesis defines the role of the accompanist and the evolution of the notation. The second part is devoted to the instructions given in methods and treatises and establishes links with foreign schools and the following century. Finally, the third part reconsiders the question of the accompaniment in the sonatas for keyboard and violin. The comparison between theoretical writings and scores finds a direct application in the continuo and keyboard accompaniment practice, and leads to the proposition of realisation models in accordance with the characteristics observed in the musical works of that period.