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11	Psophos, Sonus, and Klang: Towards a Genealogy of Sound Terminology Christensen, Thomas 12 October 2023 (has links) As we think about sound and its many competing meanings and uses for musicians over the past hundred years, it is worth keeping in mind that defining sound was also a contentious problem in earlier times. Indeed, since the ancient Greeks first invoked the term psophos as a general concept for sound, there has been a persistent question of how to draw boundaries between musical sounds (covered by such sub-terms as phthongos and phoné) and more general notions of noise (klázō). The Latin term sonus was perhaps even more confusing in this regard, with a numbing variety of meanings and applications that cannot be easily reconciled. Still, one persistent demarcation that we can find in the history of the term’s usage is that between sound as an acoustical (»external«) object, and sound as a perceptible (»internal«) phenomenon. Each of these usages implies a distinctly differing aesthetic stance towards sound that has telling resonance for compositional and analytical issues that are still very much alive today. Indeed, an acoustical turn in the seventeenth and eighteenth centuries prompted music theorists to confront the perception of musical sounds more thoroughly than before as exemplified by Johann Mattheson’s little known treatise Versuch einer systematischen Klang-Lehre (1748). info:eu-repo/classification/ddc/780 ddc:780
12	Heinrich Brockes and Handel: Connections to a German Past Fuhs, Sarah 22 July 2008 (has links) No description available. Handel Heinrich Brockes German songs German arias Hamburg Mattheson German aesthetics eighteenth century Bachofen
13	Johann Sebastian Bach's Partita for Solo Flute, BWV 1013 Transcribed and Arranged for Guitar: A Musico-Rhetorical Performance Guide Burns, Bryan Keith 08 1900 (has links) The main purpose of this dissertation is to offer classical guitarists an additional analytical technique for interpreting and performing the music of Johann Sebastian Bach. While this mode of analysis can be successfully applied to any of the instrumental works by Bach frequently transcribed and performed by guitarists, I have chosen for this study my recent transcription of the Partita in A minor for solo flute traverso, BWV 1013. With a continuo-based, harmonic realization of the Partita, I contribute to the existing guitar repertoire by offering a new transcription of this work, while demonstrating how historical concepts of rhetorical structure and aesthetics found in relevant primary source material can inspire a new approach to analysis, transcription, and performance practice. In this way, my investigations create additional perspectives for classical guitarists regarding the analysis and performance of this work, while complementing traditional harmonic analysis and subject labeling. Although it is my hope that this new transcription of the Partita will serve as an important contribution to the existing literature, the main purpose of this dissertation resides in the musico-rhetorical analytical technique and its implications on performance practice for classical guitarists. J.S. Bach Classical Guitar Baroque Music Performance practice rhetoric musical rhetoric partita Johann Mattheson Bryan Burns Music Musical Performances Language, Rhetoric and Composition
14	Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas Tsai, Meng-Jung 08 1900 (has links) This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas. key tonality Mozart opera Da Ponte Johann Mattheson C.F.D. Schubart G.J. Vogler prima donna prima donna Le nozze di Figaro Don Giovanni Così fan tutte La clemenza di Tito characters Mozart, Wolfgang Amadeus, 1756-1791. Tonality. Characters and characteristics in opera. Operas -- Analysis, appreciation. Academic theses

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