Thesis (Ph. D.)--North Texas State University, 1963. / Includes bibliographical references.

Thesis (M.M.)--University of North Texas, 2008. / First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).

Thesis (Ph. D.)--North Texas State University, 1963. / Includes bibliographical references.

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.

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

Most of Domenico Scarlatti's harmonic progressions are quite orthodox when considered abstractly or free of their positioning in the score. The harmonic movement is given interest by subtle alterations in time; for example, (1) simultaneous upper and lower voices of different lengths, when repeated several times, change their relationship with each other; (2) one voice may be simply delayed so that it lags behind the other voice, thus combining to produce irregular harmonic sound on many succeeding beats; (3) the combination of two or more chords appearing on one beat is similar to number (2) but does not necessarily occur more than once.

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.

The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.

At the end of nineteenth century, as a result of the revival of the early music, harpsichord, the most important instrument in the Baroque period, was emphasized again and back to the stage. However, without any recordings been made and left, the scores and the documents became the significant references for the interpretation. This study will discuss about the performance practice issues in French composer François Couperin¡¦s treatise ¡§L¡¦art de toucher le clavecin¡¨. The representative of Couperin¡¦s work is his four harpsichord books. In his 1716¡¦s treatise ¡§L¡¦art de toucher le clavecin¡¨, he explained the performance practice issues of his harpsichord music. The discussion includes the body gesture, articulation, tempo, characteristic of the instrument, ornamentation, fingering, notes inégales and the tradition of prelude. Moreover, he composed eight preludes and put them at the end of the treatise for practicing. Although the treatise was not the only one which discussed about harpsichord at that time, it is rare that composers wrote instruction for other musician in order to interpret his own music. This study includes three parts. First, the development of the harpsichord music in baroque period and François Couperin¡¦s life are introduced. The second part explicate the historical background of the François Couperin¡¦s four harpsichord collections, eight preludes and ¡§L¡¦art de toucher le clavecin¡¨. The third part focuses on discussion of the performance practice. Finally, the conclusion will be made.