Digitized by Kansas Correctional Industries

This project involved an examination of the relative popularity of various harpsichords and related keyboard instruments in England from 1150 to 1820, with particular attention to the virginal period, 1500 to 1680. Considerable research was involved in selecting an appropriate instrument to replicate and the methodology of its builder. Attention was given to the appropriateness of certain bodies of literature to particular instrument types, with special attention to English virginal literature. In order to understand fully the relationship between an instrument type and its literature, it was further necessary to draw comparisons between the physical and musical features of the various harpsichord types which might influence the suitability of the instrument to the literature.The culmination of the project was the building of a virginal based upon the findings of the research. The instrument chosen for replication was the 1668 Stephen Keene virginal built in London.

E.L. Hays' Thesis (Ph. D.)--Stanford University, 1977. / Typescript. The 2nd work is Marpurg's "own French translation and amplified version of the Anleitung"--Pref. Includes bibliographical references (v. 2, leaves 298-351).

Thesis (M.Phil.) - University of Queensland, 2005. / Includes bibliography.

In Baroque period, the concerto development mainly focus on solo concerto. Composers choosed violin as the primary solo instrument. At that time, harpsichord was treated as the basso continuo instruments in orchestra. No harpsichord concerto is found at the beginning of the development of solo concerto. Johann Sebastian Bach was the first composer who used harpsichord as solo instrument for concerto.His harpsichord concerto in Weimar period foreshadow harpsichord concerto in Leipzig period. The harpsichord concertos of J.S.Bach borrowed materials from other composers` or his own solo concertos. This paper uses harpsichord concerto BWV1052 as example to investigate the way Bach changed the role of harpsichord from basso continuo to solo instrument. This paper includes three parts. First, the development of the solo concerto in the Baroque period is explored. The second part focuses on harpsichord concertos of J.S.Bach. Thirdly, examines how Bach borrowed his own materials from Cantata BWV146 to BWV1052, and the relationship among C.P.E.Bach`s harpsichord concerto BWV1052a, Wilfried Fischer `s Violin concerto reconstruction BWV1052 and BWV1052. Finally, a conclusion will be made.

Marianna Martines (1744-1812) was a highly celebrated composer, singer, and keyboardist during her lifetime in Vienna, praised by such dignitaries as Dr. Charles Burney, and achieving the honor of being the first woman composer to be admitted to the Accademia Filarmonica di Bologna in 1773. She composed both large-scale and smaller works, including masses, oratorios, keyboard sonatas and concerti, cantatas, and arias. Yet today, despite a revival of interest in this important composer, she remains largely unknown and her nearly 70 surviving works remain all too underperformed. The purpose of this dissertation is to add to the existing scholarship by exploring the first movement of her Harpsichord Sonata in G Major, the last of her three extant sonatas, which is marked Allegro brillante, and is indeed a work of technical brilliance and difficulty, through various theoretical frameworks. This study demonstrates the extraordinary nature of this work by invoking classical formal theory, topic theory, with particular emphasis on the "brilliant" and "singing" styles, and the more recent feminist studies illuminating gender-coding in music. This theoretical analysis is considered against the backdrop of sociological studies examining the gender politics of Vienna and other parts of Europe during this time period. This study argues that in her personal life, Martines broke many boundaries as a woman, although much of her success as a composer may have been facilitated by her adherence to other social norms and boundaries. Similarly, the first movement of the Sonata in G exhibits this same balance, and in that work, one can see a composer who defies expectations, yet does so while playing within (and with) established norms.

Thesis (doctoral)--Georg-August-Universität, Göttingen, 1991. / Includes bibliographical references (p. 376-396).

Thesis--Washington University. / Includes bibliographical references (v. 1, leaves 142-147).

Thesis (doctoral)--Georg-August-Universität, Göttingen, 1991. / Includes bibliographical references (p. 376-396).

Organological inspections of a representative sample of English spinets made during the period 1680-1740 have been performed. The sample includes instruments made by Stephen Keene and his co-workers, by the Hitchcock family firm, and by selected other makers. Analysis of the Keene instruments allows them to be classified into four groups reflecting their development in size and compass over time. In contrast, little development is discernible in spinets from the Hitchcock workshop: rather, the instruments can be seen to have existed as two basic models – a mitred tail model and a serpentine tail one. Some variations and hybrids are recognisable in both models. The commonly held view that the spinet was merely a cheap and compact substitute for the harpsichord, even during the late-Stuart and early-Georgian period, is refuted by reference to archival and iconographic evidence of the status in society of those who bought the instruments.