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For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.

At the Edinburgh University Collection of Historical Instruments (EUCHMI) there are two virginals where the strings are plucked extremely close to 1/4 of their length over a substantial part of the compass. Principles of Acoustics dictate that in such cases the fourth partial of the resulting sound is unlikely to be produced with any appreciable magnitude. Similar situations affecting different partials also occur when the plucking point is located at other fractional parts of the string length, such as 1/3 or 1/5. A database of plucking points, based on museum catalogues, was created and analysed, so that pitch regions are identified where such phenomena are likely to occur for different categories of instruments. The main cue used in harpsichord tuning is related to beat phenomena produced by partials of two simultaneously played notes, whenever there is a small difference between their frequencies. Partial four being relevant for major thirds and perfect fourths, these intervals may result less accurate, or less reliably tuned, in instruments like the above virginals. Historical sources were surveyed for expressions which describe the cues that tuners were supposed to use in identifying the ideal of an interval. Although expressions such as Schwebungen are mostly related with beats, broader meanings are discussed. Hints of the use of alternative, not beat-related cues, are identified. A series of practical tuning experiments was performed in which selected intervals were tuned, the accuracy of the tuning process being assessed from recordings, which were subjected to spectral analysis. Only cues that could be related to historical sources were used. The effects of factors such as pitch, pitch region, instrument, interval type, and particularly the potential absence of relevant partials were investigated, statistical methods playing a substantial role in the research. A logbook was created, where the experimenter detailed the cues used for each tuned interval in one of the experiments. The recorded information provided some insight into a number of strategies a tuner may use for coping with difficulties in cases of absent or weak partials. The impact of inharmonicity on the exact size of just intervals was also examined, both on theoretical grounds and based on data from the experiments. A number of case studies were included, where a comparison was made between missing partial notes predicted from plucking points and the degree of absence of those partials in the actual spectra for some historical instruments.

This composition is a work for harpsichord (two players), flute, clarinet, violoncello and tape. In four sections, interspersed by three electronic interludes, the timbral interplay among the four live instruments is exploited, with particular emphasis being given to the sonic effects achieved by the careful manipulation of the interior of the harpsichord. As such, the two harpsichord players have distinctive roles in the ensemble: one of them operates the manuals in a more or less conventional fashion, while the other performs precisely indicated functions inside the instrument.The novelty of the latter activity has necessitated the invention of a few new notational symbols, which are employed throughout the score, Another uncommon notational device is the omission of bar lines, in an attempt to express the independence of contrapuntal lines within the piece.Ball State UniversityMuncie, IN 47306 / School of Music

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Stellar Ouintet is a composition in five movements (Prologue, Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violoncello, and harpsichord. It makes extensive use of constellations , a term used in this work to denote arrangements of pitches in spatial notation. This method of notation is derived from actual astronomical constellations. The score makes use of both real and freely constructed constellations which are rotated around their own central axis. The score is 90 pages long with a 28 page analysis preceding the score. The work has a performance time of approximately 18-20 minutes

by Elizabeth Tsang Yu Mei. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1995. / Content / Chapter 1. --- Prelude & Fugue for Harpsichord (1995) / Chapter i) --- programme notes / Chapter ii) --- music score --- p.6 pages / Chapter 2. --- Fantasia for Organ & Orchestra (1995) / Chapter i) --- programme notes / Chapter ii) --- music score --- p.65 pages

The purpose of this portion of the thesis project was to make a study of the Sonata in A major for violin and piano by Cesar Franck, presented as one of the major works on the second of the two recitals performed in partial fulfillment of the thesis requirement for the degree, Specialist in Education. Of the music performed on the two recitals, the writer felt that the most challenging, from the standpoint of interpretation and of the violin technique involved, was the Franck sonata. Therefore, she has made a formal analysis of the composition as well as an investigation into the technical and musical problems arising in actual performance. It is the writer's belief that the results of the investigation will not only affect her own future performances of the sonata, but ray also be of benefit to other violinists in their study of this sonata.With Cesar Franck the cyclic treatment of thematic material was established as an important principle of composition. The writer presents a thematic analysis of the sonata in which she points out the various ways in which the composer makes use of the cyclic principle. Particular attention is given to the process of motivic development in the transformation of thematic material. The investigation shows that in the Sonata for violin and piano by Franck a single basic idea seems to dominate the entire composition, i.e., the rising and falling inflection of a germ-motive which characterizes the principal themes of the four movements. The movements are further interrelated by the appearance of common thematic material, in either identical or altered form.The formal structure of each movement was determined, and a complete thematic analysis is given. A synopsis of this analysis appears at the end of Chapter V, Analysis of the Sonata in A Major.There is an unusual departure from the "standard" sonata movement scheme in that the first movement, Allegretto ben moderato, serves as an extended "prologue" to the principal movement which appears second. Thus movement II, Allegro, is in fully developed sonata form. It contains two main themes of contrasting character, each theme having three distinct parts. The third movement, which is free and improvisatory in mood and structure, is aptly titled, Recitativo-Fantasia. The finale, Allegretto poco mosso, appears as a unique kind of rondo in which the theme of the refrain is treated as a canon at the octave.In the study of the sonata, harmonic analysis was aimed chiefly toward determining the. structural framework of the composition as a means of understanding the musical progression although a chordal analysis was presented where it seemed significant. The harmonic material is highly chromatic, as is characteristic of the Romantic period, with much use being made of the dominant ninth chord, diminished seventh chord and augmented sixth chord.Problems of violin technique, including those of bowings and fingerings, were investigated and suggestions as to their solution are offered. It is seen that a mastery of the basic detache stroke, smooth legato bowing and accuracy in the high positions are required above all. There is a noticeable absence of the use of special effects, which are unnecessary for the projection of the work. A few double and triple stops occur in the second movement while the only four-note chord is in the third movement. Trills occur at the end of the second movement and also in the Recitativo. For uniform tone color several passages require the player to play in an extended range on the same string.Great demands in the way of energy and physical stamina are required of the violinist in order to provide the variety and quantity of sustained tone necessary for proper balance with the piano.Suggestions relating to dynamics, subtleties of phrasing and accent, as well as reference to tempo and mood are made to aid in the projection of the music.This study supports the belief that in the performance of duosonata music there are no requirements separate from those for other concerted music. An effective interpretation, based on a thorough understanding of the music and a scholarly approach to the composer's musical intentions are basic requirements in both forms of music making. In addition, it is up to each player to extend his understanding of the complete score in order to perceive his role as both soloist and accompanist as the music demands.

Sonata in A major, op. 2, no. 5 / B. Marcello -- Sonata in D major / J. M. Sperger -- Sonata #1 in A major, op. 5 / Adolf Misek -- Sonata "1963" / Frank Proto. / text

Bach's Concerto for Keyboard, Flute, and Violin with Orchestra in A minor, BWV 1044, is a very interesting and unprecedented case of Bach reworking pre-existing keyboard works into three concerto movements. There are several examples of Bach carrying out the reverse process with his keyboard arrangements of Vivaldi, and other composers' concertos, but the reworking of the Prelude and Fugue in A minor, BWV 894, into the outer movements of BWV 1044, and the second movement of the Organ Sonata in F major, BWV 527, into the middle movement, appears to be unique among Bach's compositional activity. This study will explore in some detail how Bach transforms these solo keyboard pieces into a three movement concerto for three concertino instruments and ripieno. As is the case with most of Bach's instrumental works, the question of where BWV 1044 fits within the chronology of Bach's works is unclear. This paper will attempt a reliable date of composition for this concerto by combining a variety of methods including source study and comparative formal analysis.