Thesis (Ph. D.)--Illinois State University, 2007. / Title from title page screen, viewed on March 11, 2008. Dissertation Committee: Amee Adkins (chair), Trisha Klass, Linda Lyman, Sandra Harmon. Includes bibliographical references (leaves 136-150) and abstract. Also available in print.

Thesis (D.M.A.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

This study sets out to examine the ornamentation in the manu¬script GB-Cfm 32.G.29 (known as the Fitzwilliam Virginal Book) as representative of late sixteenth-century practice. The sixteenth- and early seventeenth-century ornamentation as practised on the Continent is also investigated, in order to elucidate the contemporary English practice, to evaluate it and place it in perspective. This period's concept of ornamentation is an ars diminutionis. The diminution technique (the breaking up of long note values into smaller ones) is expressed as passaggi (figurations) and ornaments, in order to provide a more elegant expression of the basic notes of a composition. Continental treatises describe the individual ornaments and thus provide a terminology with which to describe these ornaments. The ars diminutionis manifests itself in the FVB as written-out figuration, written-out ornaments and ornaments indicated by sign, the latter consisting of the single and double stroke which are peculiar to virginal music. No explanation for the Virginalists' signs exists, nor are contemporary English instruction books concerning themselves with keyboard ornamentation available. A comparison of the ornamentation of the manuscript with the printed edition of the FVB (1979-80), reveals many inaccuracies in the latter. These consist mainly of printer's errors, such as wrong placements and frequency of occurrence, which do not correlate with the original, and stenographic cancellation signs which are wrongly interpreted as ornaments. All of these are corrected in the present study. A collation of other source copies with the same pieces found in the FVB reveals many textual and ornamentation variants between them. Examining the written-out ornaments in the FVB, one finds that they are identical to the ornaments found in Continental sources. These ornaments are primarily employed as decoration of the individual closes in a cadence, where they occur as diminutions of the notes constituting the cadence. Here they are employed functionally, for example, to resolve the note of resolution in a discant close ornamentally, or to embellish the plain notes of a bass close. They are also used as virtuoso decoration as an intrinsic part of the passaggi, being diminutions of successive intervals. The single- and double-stroke ornament signs appear at first glance to be indiscriminately scattered over the music without purpose. Research into their use reveals them to be employed systematically, besides being decorative elements which add brilliance to the music. The frequency with which they coincide with the pulse unit and the rhythmic pulsation created by it, together with the profusion of their occurrence, make these signs a unique phenomenon in late sixteenth-century ornamentation. Their interpretation remains a difficult issue to clarify. The evidence assembled in this study points to a classification of the strokes according to the accenti e trilli principle. The single stroke can then be interpreted as a slide (from a third below the main note), and the double stroke as a tremolo or tremoletto - the most common sixteenth-century ornament. Its mirror-image, the mordent, is occasionally more appropriate in certain contexts, and in cadences the double stroke followed by a two-note suffix most likely signifies a groppo. / Thesis (DPhil)--University of Pretoria, 2010. / Music / unrestricted

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.

Despite being recognized as one of the most important compositions in the twentieth¬ century wind band repertoire, the William Byrd Suite presents many obstacles for the conductor and ensemble members. Since its initial publication in 1924, the piece has contained many discrepancies of pitch, articulation, rhythm, dynamics, and phrase completion that appear in the score as well as the parts. Although the work was reissued by Boosey & Hawkes in 1960 and 1991, many of the original errors remained intact. The sheer amount of inconsistencies causes great difficulties for the musicians involved in the rehearsal process, slowing efficiency and resulting in a frustrating impediment to a quality performance. The primary purpose of this study was the creation of a critical edition of Jacob's William Byrd Suite that eliminates errors of extant editions, incorporates modern instrumentation, and considers the source material. To accomplish this, the present project looks at all sources, including the autograph manuscript, orchestral version, published editions, and errata. The editorial process examines the governing philosophy, subsequent editorial decisions and indications, and the final organization of the parts. The study concludes with the inclusion of the full score of the new critical edition.