A two-fold analysis of the vocal ornamentation in Handel's aria, "He was despised" from Messiah, was conducted employing objective and subjective forms of listening practice associated with the analysis of recordings methodology. It is this author's hypothesis that prosody, born of the semiotic processes of rhythm, pitch and accent, and which is also reflective of the subjective understanding of the performer, will be present during the moment of an ornament--if it is present at all in any performance. Ornamentation is shown to be an entry into the world of subjectivity in Baroque vocal performance practice as well as a window into the oral tradition and the primacy of the singer's expressiveness that relates back to the Italian school to which Handel subscribed. The method of study in this monograph consists of examining scholarly writings, scores, notations and most importantly, applying listening practice to 38 different renditions of "He was despised," executed by female altos or by countertenors, under the direction of various conductors, dating from 1927 through 2006. The first of two listening practices is an analysis of recordings to identify and review the nature of the non-notated sung ornaments found in the recordings. The author develops a system of defining and categorizing the types and units of non-notated, aurally observed vocal ornaments executed in each performance. In the second phase of this study, the author incorporates a postmodern philosophical approach and notes her own subjective experiences during the analysis of recordings. This phase examines the idea that prosodic elements are associated with the subjective experience of emotional meaning, elucidation of text, and illumination of subtext in this aria from Handel's Messiah. Results include noteworthy findings about the interplay of the singer's subjectivity with ornamentation in affecting the listener's subjective reaction to the performance (e.g., narrator's viewpoint, beautifying versus emphasizing subtext). In conclusion, the author explores the relationship between a performer's prosodic and non-prosodic executions of ornamentation and proposes specific recommendations to singers who wish to execute ornamentation in a manner that is both historically informed as well as prosodically expressive of subtext. / Music Performance

This study investigates the status of Historically Informed Performance Practice among the South African flute-playing fraternity. Consequently, grounds are established on which to claim a lack of the implementation of Historically Informed Performance Practice in South African flute pedagogy and playing. The main research question that underpins this study is: <ul> <li>Why is there a lack of integration of Historically Informed Performance Practice into the mainstream of current flute performance practice among South African flute pedagogues and players?</li></ul> This research question is addressed through three sub-questions: <ul> <li>Is there an awareness of Historically Informed Performance Practice in South Africa as outlined by performance and pedagogy internationally?</li> <li>How is Historically Informed Performance Practice incorporated into the South African flute examinations system? </li> <li>Does the knowledge of Historically Informed Performance Practice prepare one to be a balanced musician or flautist?</li> </ul> The findings that emerge from the investigation of the research questions are: <ul> <li>South African flute pedagogues fail to differentiate between Historically Informed Performance Practice and ‘authenticity’. This could be attributed to the fact that relatively little research and discourse into Historically Informed Performance Practice has been conducted by South African scholars and musicologists. </li> <li>While Historically Informed Performance Practice is thought to enhance students’ performances of Early Music, resulting in better-balanced musicians, it has not been significantly exploited by South African flute players.</li> <li>South African flute students are superficially aware of some elements of performance practice, but are generally not historically informed with regard to the performance of Early Music.</li> <li>There is no clear indication of Historically Informed Performance Practice being incorporated into the South African independent flute examination system.</li> <li>While there are numerous specialists in Early Music locally, flute pedagogues and players perceive them to be scarce, perhaps due to a lack of discernable demand for historically informed performances by South African audiences.</li> </ul> The research synthesises questionnaire and interview data from local flute pedagogues, Early Music specialists and both national and international flute students in an attempt to discover the reason for the lack of Historically Informed Performance Practice in South Africa. Additionally, a survey of websites detailing South African Early Music activity is performed using the Internet, in order to ascertain if the basis for a future in Historically Informed Performance Practice exists nationally. Lastly, content analyses of the three primary South African independent examination boards’ syllabi and of the former flute periodical, Flufsa News, elucidate the status of Historically Informed Performance Practice nationally. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

In this thesis I present a community of musicians dealing with a specific approach to music of older styles - historically informed performances (HIP). The aim is to answer the question as to why these promising classically educated musicians decided to leave the traditional career path in their field and chose alternative musical expression. I follow the rise and development of the professional scene of historically informed performances and its community from the turn of the 80s and 90s of the 20th century to the present day. Based on the analysis and interpretation of oral historical interviews, I describe changes in this environment and subsequent reflection on the perception of the profession and lives of the actors. I focus on their individual perceptions of authenticity and historical time, formed by their incorporation in early music.

O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters. In this effort, this treatise focuses on several broad categories in the process of understanding the inspiration and, therefore, the interpretation of these works. These categories include the genesis of the toccata as a genre, the compositional techniques associated with the toccata, Bach's personal contribution to the genre, and the interpretation of Bach's toccatas specifically. / text

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

[EN] The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages. / [ES] La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales. / [CA] La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals. / Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682

The flute music of Anna Bon di Venezia (1738–ca. 1767) belongs to the group of long-overlooked compositions by women composers throughout history worthy of rediscovery. This dissertation includes a discussion of Bon's life and music, as well as the artistic, historical, and theoretical significance of her compositions. It also presents biographical research on Bon, including Michaela Krucsay's dissertation, which provides new evidence of Bon's birth date, which had been uncertain up until 2015. Bon's Sonata in F Major for flute and basso continuo is analyzed to provide a more comprehensive understanding of the work. A table is provided explaining specific ornaments and articulations added to the performance edition. In addition, this dissertation includes analyses of sonatas by Carl Philipp Emanuel Bach (1714–1788) and Johann Joachim Quantz (1697–1773) to contextualize Bon's sonatas within the standard flute repertoire. This dissertation expands the music scholarship on this distinguished composer and performer and provides a historically informed performance edition of the Sonata in F Major, op. 1, no. 2, for flute and piano, to serve as a model to modern flutists for historically informed performances of Bon's entire opus 1.