Over the course of the development of the violin and viol families between the second half of the sixteenth century and the first decades of the seventeenth century, players of these instruments did not conform to the existing roles for professional instrumentalists established by wind consorts and other civic musicians. In determining the early sources of professional players of bowed strings, the contexts in which choirboys and young church musicians came to study instrumental music as well as the functions of the ensembles, repertoires, and instruments illuminate the output of the subsequent generations of adult composers and professional musicians, particularly the Venetian School, the first to write idiomatic instrumental music and to specialize in instrumental composition and performance. The acceptance of bowed strings into church music contexts is reflected by the preponderance of string-playing maestri at religious institutions, most notably Marc’Antonio Ingegneri in Cremona and Claudio Monteverdi in Mantua and Venice. The ultimate indication of the presence of string instruments in the church music-educational system and thus the Church as a source of professional string players is the advent of sacred music with designated parts for strings: the stile concertato developed at San Marco and expanded by Gabrieli, Monteverdi, Grandi, and Viadana among others, along with evidence of increasing instrumental participation in the ceremonial sacred music that contributed to its development.

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The purpose of this thesis is to show through the presentation and analysis of authoritative information, and opinions drawn from the information and analysis, the development of violin technique from its basic rudiments as an accompanying instrument to the plane of a brilliant solo instrument, a position it still maintains today. This thesis aims to deal exclusively with the technical evolution of the violin. Many books on the history of the violin have been written, but none have dealt exclusively with the technical evolution of this instrument, and it is hoped that the materials in this thesis will constitute a contribution to this field.

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The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera from its inception to the end of the nineteenth century.

La présente thèse vise à expliquer l’action et les prises de position de Vincent d’Indy par l’analyse de ses idées esthétiques telles qu’elles s’expriment dans ses écrits tant privés (journal intime, correspondance) que publics. Parmi ceux-ci, sans négliger le Cours de composition musicale et ses autres livres (César Franck, Beethoven…), elle privilégie les nombreux textes signés par le compositeur au cours de sa longue carrière : articles, conférences, lettres ouvertes, préfaces… La première partie présente la carrière de d’Indy conférencier et écrivain, sa formation intellectuelle ainsi que les principaux procédés rhétoriques et argumentatifs qu’il met en œuvre. La seconde partie tente dans un premier temps une synthèse de sa pensée sur l’art, la création et l’interprétation musicales, ce qui conduit, dans un second temps, à l’analyse de ses prises de position dans certains des grands débats de son époque (pédagogie et critique musicale, musicologie, musiques d’église et religieuse). La troisième et dernière partie étudie la position de d’Indy vis-à-vis de quatre compositeurs sur lesquels il s’est exprimé et dont il a été l’interprète (Claudio Monteverdi, Joseph Haydn, Felix Mendelssohn, Maurice Ravel) ; elle s’interroge aussi sur l’influence que ces musiciens ont pu avoir sur sa propre création. Le volume d’annexes comprend une chronologie de la vie de d’Indy, les listes chronologique et par genres de ses écrits publics, ainsi qu’une sélection des textes les plus importants. / The present thesis seeks to explain Vincent d’Indy’s activities and opinions by the analysis of his esthetical ideas, as they appear in his private writings (diary, correspondence) as well as the public ones. Amongst the latter, including in particular the Cours de composition musicale and his other books (César Franck, Beethoven…), this analysis singles out the many texts written by the composer during his long career: articles, lectures, open letters, prefaces… The first part presents d’Indy’s career as a speaker and a writer, his intellectual background, his figures of speech and reasoning. The second part tries in first place to synthesize his thoughts on art and musical creation and interpretation, and then moves on to the analysis of his opinions about some of the great debates of his time (pedagogy of music, music critic, musicology, church music and sacred music). The third and last part considers d’Indy’s views on four composers he studied and of which he has interpreted the works (Claudio Monteverdi, Joseph Haydn, Felix Mendelssohn, Maurice Ravel); it also tries to find out the extent of the influence/impact these musicians could have had on his own musical creation. The annexes contain a chronology of d’Indy’s life, the lists of his writings, chronological and by types, and a selection of his most important texts.

Made available in DSpace on 2014-06-11T19:32:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-13Bitstream added on 2014-06-13T20:23:50Z : No. of bitstreams: 1 sulpicio_ca_dr_ia.pdf: 7470036 bytes, checksum: 2fbae8d3ec3077336f3d5bf6542ea06f (MD5) / Esta tese tem como objetivo traçar um panorama histórico sobre a evolução da técnica do trompete percorrendo uma linha cronológica que parte de Monteverdi e chega a Stockhausen com enfoque na relação compositor/instrumento/instrumentista. Inicialmente, apresentamos uma breve abordagem dos primórdios do trompete e apontamos a importância da obra Orfeo de Monteverdi, pois é a partir desta obra que o instrumento adentra a orquestra e começa a fazer parte do que poderíamos chamar de música “séria”. O ápice deste processo culmina com a obra A Jornada de Miguel em Volta da Terra de Karlheinz Stockhausen, uma obra de porte e caráter monumental que coloca o instrumento em total evidência e explora a técnica expandida do instrumento, podendo ser considerada uma das obras mais representativas para o trompete no século XX / The objective of this thesis is to trace a historic overview about the evolution of the trumpet technique throughout a chronological line which starts at Monteverdi and reaches Stockhausen with a focus on composer/instrument/interpreter. Primarily, we present a short context of the initial period and appoint the importance of the work Orfeo by Monteverdi, because this is the first time that the instrument integrates the orchestra in what we can call by art music. The summit of this process is the work Michael`s Journey Round The Earth, by Karlheinz Stockhausen, a monumental work which explores the expanded technique and can be considered one of the most relevant work for trumpet solo in XX century

Freya diMonteverdi has spent her entire life trying to piece together the story of her family. Interspersed amongst three generations of women, this fiction piece attempts to answer questions of home and absence through the narrative mediums of mushrooms, the tale of Atlantis, opera and excessive use of footnotes.

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