Zugleich: Diss. phil. I Zürich, 2006 u.d.T.: Georg Philipp Telemanns Kantatenschaffen als Director Musices in Frankfurt am Main (1712-1721). / Register. Literaturverz.

Thesis (D. Mus. Arts)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [123]-124).

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.

The purpose of the treatise is to provide the first modern edition of one of Telemann's “Lutheran masses” and a discussion of the work in its historical, stylistic, and liturgical context. In his lifetime, Georg Philipp Telemann (1681-1767) was one of Germany’s, if not Europe’s, most famous and most prolific composers. Though many of Telemann’s works were published by him, many are today assumed lost or remain unknown. Presented here, for the first time, is a performing edition of one of Telemann’s missae breves based on the Lutheran chorale melody Christ lag in Todesbanden. This setting is one of five in a manuscript collection in the library of the Koninklijk Conservatorium Brussel (Royal Conservatory, Brussels). Chapter One presents a survey of Telemann’s life and career, church music, and historical reception, both in his day and to the present. Because this mass setting resulted from the reform movement of Martin Luther, Chapter Two addresses the role of the mass in the Lutheran liturgy. Included in this chapter is a discussion of some of the elements Luther retained from the Roman liturgy and some of those elements which he discarded or changed, namely those elements which relate to the use of music in the liturgy. Unlike his fellow reformers Jean Calvin and Ulrich Zwingli, Luther was a lover of music and gave a prominent position to music in his new liturgy. Chapter Three focuses on the importance of music in the Lutheran liturgy, especially the significance of the chorale. Chapter Four presents the chorale melody and the manner in which Telemann employed it in this mass setting. There is also a discussion of performance considerations and suggestions. The score of the edition is included as Appendix A. / text

Thesis (doctoral) - Universität, Zürich, 2006. / Includes bibliographical references and indexes.

Master of Music / Department of Music / Mary Lee Cochran / This Master’s report encompasses form, harmonic analysis, and style analysis of the four works performed on February 11th, 2007 for the author’s Master’s recital. Analysis was based on the author’s experience with the pieces. Many sources were utilized to discuss composer biographies, background information of the solos, and historical information of musical terms and periods. The pieces are Georg Philipp Telemann’s Sonata in F minor, John La Montaine’s Sonata for Flute Solo, Kelly McCarty’s Cinco Mundos, and Otar Taktakishvili’s Sonata for Flute and Piano.

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