Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother. Chapter 2 discusses specific musical components of Galileo's Eyeglass, including form, musical quotations, motivic and thematic material, harmonic language, orchestration, and notation. Chapter 3 examines the principal philosophical themes behind the composition, including expressions of victory of a life well lived in spite of many obstacles. Part 2 contains the orchestral score.

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The purpose of this paper is to create a modern transcription/edition and an historical study of Munich Mus. Ms. 1511b thereby helping to define the social and pedagogical ramifications of lute repertoire from the mid-sixteenth-century. Because of the amateurish nature of the compositions, the conclusion of this study is that a member of the Herwarth family probably used the manuscript for learning purposes. Dance, grounds and other related forms found in the manuscript are discussed. Also included is an incipit concordance that can be used as a cross-reference for further research.

Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.

In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.

林天惠. / "2009年9月". / "2009 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 115-128). / Abstracts in Chinese and English. / Lin Tianhui. / 論文中文摘要 / 論文英文摘要 / 致謝 / 論文目錄 / Chapter 第一章 --- 論文概述 --- p.1 / Chapter 第一節 --- 研究背景 / Chapter 第二節 --- 研究動機 / Chapter 第三節 --- 研究對象 / Chapter 第四節 --- 與研究題目相關的研究和理論 / Chapter 第五節 --- 研究方法 / Chapter 第六節 --- 論文章節概覽 / Chapter 第二章 --- 阮在中國的歷史及其形制 --- p.18 / Chapter 第一節 --- 阮在中國的歷史 / Chapter 一、 --- 阮與中國古代阮咸的歷史聯繫 / Chapter 二、 --- 阮與奈良正倉院中所藏的阮咸之關係 / Chapter 三、 --- 阮與中國鄰近地區的阮類樂器之關係 / Chapter 第二節 --- 阮在二十世紀以來的發展及應用 / Chapter 一、 --- 阮在中國國内大型中樂合奏團中的歷史及其應用 / Chapter 二、 --- 阮的獨奏音樂 / Chapter 三、 --- 阮的演奏技巧 / Chapter 四、 --- 樂器改革 / Chapter 五、 --- 阮的形制 / Chapter 六、 --- 現今香港流通的阮的形制 / Chapter 第三節 --- 小結 / Chapter 第三章 --- 阮在香港的歷史及發展一演奏及教育層面 --- p.44 / Chapter 第一節 --- 阮在香港的演奏情況 / Chapter 一、 --- 早期大型中樂合奏團 / Chapter 二、 --- 全職大型中樂合奏團一香港中樂團 / Chapter 三、 --- 粤劇、粤曲音樂中的電阮 / Chapter 四、 --- 阮在香港的演奏情況小結 / Chapter 第二節 --- 阮在香港的教育 / Chapter 一、 --- 音樂事務處 / Chapter 二、 --- 香港演藝學院中樂系 / Chapter 三、 --- 香港校際音樂節 / Chapter 四、 --- 中樂考級試 / Chapter 五、 --- 阮的教材與樂譜 / Chapter 六、 --- 阮在香港的教育情況小結 / Chapter 第四章 --- 從實踐經驗中看阮在港的定位及認同 --- p.70 / Chapter 第一節 --- 香港阮合奏組合一無極樂團 / Chapter 第二節 --- 香港阮改革者阮仕春之復原樂器 / Chapter 第三節 --- 阮仕春的樂器改革理念及阮氏阮咸 / Chapter 第四節 --- 阮氏阮咸之應用及阮仕春對阮之影響 / Chapter 第五節 --- 小結 / Chapter 第五章 --- 結論 --- p.95 / 附表 --- p.104 / 參考資料 --- p.115

Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.

Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion. / School of Music

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.

The harp lute is a generic term given to certain types of plucked stringed instruments originally invented by an English musician-retailer, Edward Light, in London at the beginning of the nineteenth century. Combining elements of the highly popular contemporary instruments the harp and the guittar (English guitar), the ideal hybrid instrument, the ‘harp lute’ was constructed. Although the name ‘lute’ was given, since the body consisted of three or seven staves and integrated open major tuning with a natural scale for floating strings it is more closely related to the harp and the guittar than the conventional lute. Incessant application of inventors’ changes to the instruments generated appearances in a variety of forms, sizes, designations and number of strings. Being moderately priced but excessively decorated and relatively easy to learn, harp lutes, as liberal arts instruments, quickly became fashionable in the London music scene, especially amongst middle class ladies. Despite being highly decorative instruments, harp lutes were normally very economic to make. Their construction was adapted for the growth of mass-produced musical instruments, and was therefore moderately and affordably priced. Aalthough there is a great number of surviving harp lutes in public museums, academic institutions, private collections, and a large quantity of published music, as well as archival sources related to the instruments kept in public libraries within researchable conditions, there has been hardly any serious academic study of these instruments since a 1908 survey by Robert Bruce Armstrong. Thereafter, problematically, many accounts relating to harp lutes have relied on erroneous aspects of his research (the date of invention 1798, for instance, may be wrong). This lack of substantial information induced further issues so that, due to the complexity of the instrument designs and the existence of the similar kinds, ambiguous designations have been applied to each model of harp lute, bringing with it added confusion in determining terminology. This thesis, therefore, aims to clarify the terminology and to provide a complete account of the harp lutes, particularly those by Edward Light, in the British Isles during the first half of the nineteenth century. To enable classification of these instruments, it became important to research all available information on Edward Light as musical instrument retailer, musician and inventor. Thus, all models of the harp lutes will be revealed chronologically, shedding light on their constructional transformation as opposed to musical aspects – if readers need more information on musical aspects, they should refer to Armstrong (1908); the purpose of this thesis is to clarify the evolutionary process of the harp lute with partial reference to the social and cultural changes in Britain. There will less focus on music. The inventor Edward Light’s outstanding commercial acumen in musical instrument retailing and inventing will be highlighted, while in order to understand his attempts at harp lute manufacturing (in cooperation with the makers, e.g. Barry), which substantially underpinned Light’s significant success, a copy of a harp-lute will be made to shed light on the hidden secrets in harp lute making.