Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. "Suggestions for performance practice": leaves 209-230. Includes bibliographical references (leaves 251-270). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis--University of Illinois, Urbana-Champaign. / Vita. "Musical supplement": v. 2, leaves 474-1103. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1977. -- 21 cm. Bibliography: v. 1, leaves 439-473.

Inaug.-diss.--Leipzig. / "Literatur": verso of 3d p. l. Lebenslauf. "Beide Teile der Arbeit sind als selbständige Abhandlungen in den Sammelbänden der Internationalen Musikgesellschaft (IV. 2, 3) erschienen."--Pref.

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.

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

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.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:53:49Z (GMT). No. of bitstreams: 1 Stasi_Marcello_D.pdf: 6885248 bytes, checksum: 72213b5ac92bccddfffe802d422af700 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa teve por finalidade investigar a relação entre palavra e harmonia no repertório das monodias dramáticas da seconda pratica. Após considerar a alternativa da aplicação da doutrina do ethos associado ao modo, e examinar as implicações dos conceitos de pathos, mutatio e hexachordum, este trabalho situa a importância do platonismo ficiniano no contexto cultural que circundava surgimento da seconda pratica. Buscou-se então extrair diretamente da tradução latina da obra de Platão, indicada pelos cultores da seconda pratica como fonte de inspiração, a definição e as atribuições dos conceitos de melodia e suas partes constituintes: oratio, harmonia e rhythmus. A partir dos resultados desta investigação, que apontam para a importância da dialética na constituição do conceito platônico da oratio, relacionou-se este conceito à prática harmônica do repertório em questão tal como revelada pelo trabalho de Eric Chaffe. Tomando a specierum coppula como possível elemento constituinte comum entre a oratio e a harmonia, são analisados cinco exemplos de monodias dramáticas da seconda pratica, extraídos das obras de Jacopo Peri e Claudio Monteverdi baseadas no mito de Orfeu e Eurídice. Os resultados das análises sustentam a possibilidade de que estes compositores tenham buscado, através de elaborados encadeamentos harmônicos, dar forma material à relação entre as idéias expressas no texto poético, verdadeira essência do discurso para o pensamento platônico. Para tal efeito teriam tomado como pressuposto o princípio que considera contíguas duas tríades separadas por um intervalo de quinta gerando assim uma polarização do espectro harmônico sobre o eixo bemol-sustenido. O resultado dessa pesquisa aponta para um aumento da nossa percepção em relação à extensão e importância da influência do platonismo no movimento da seconda pratica. / Abstract: This research aimed to investigate the relationship between speech and harmony in the repertoire of dramatic monodies of the seconda pratica. After considering the alternative of applying the ethos doctrine associated to the modes and examining the implications of the concepts of pathos, mutatio, and hexachordum, it locates the importance of the platonic thought as advocated by Marisilius Ficino in the cultural context that surrounded the emergence of the seconda pratica. Consequently, this research aimed to extract directly from the source of inspiration indicated by the followers of the seconda pratica, the Latin translation of Plato's work, the definition and attributes of the concepts of melodia and its constituent parts: oratio, harmonia and rhythmus. Considering the results of this investigation which pointed towards the importance of dialectics in the constitution of the platonic concept of oratio, this works sought to relate this concept to the harmonic practice of the repertoire examined as revealed by the work of Eric Chaffe. Taking the specierum copula as a possible common denominator between oratio and harmonia, five examples of dramatic monodies of the seconda pratica extracted from Jacopo Peri's and Claudio Monteverdi's works based on the myth of Orpheus and Eurydice are analyzed. The results of the analyses support the possibility that these composers have aimed, by means of well elaborated harmonic progressions, to give material form to the relationship between the ideas expressed by the text, the true essence of speech according to platonic thought. This was accomplished presuming that two triads separated by a fifth are considered contiguous, generating therefore a polarization of the harmonic spectrum over the flat/sharp axis. The outcome of this research points towards an increase of our perception over the extension and significance of the influence of Platonism in the seconda pratica movement. / Doutorado / Doutor em Música

Acompanha 1 anexo: L'Orfeo favola in musica, de Claudio Monteverdi / Orientador: Eduardo Augusto Ostergen / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T16:57:48Z (GMT). No. of bitstreams: 1 Rocha_AbelLuisBernardoda_D.pdf: 9114279 bytes, checksum: 2529bd2853d709dbe5436634ed75c5ab (MD5) Previous issue date: 2008 / Resumo: Este trabalho tem por objetivo apresentar a realização de uma PARTITURA CONTEMPORÂNEA DE EXECUÇÃO da ópera L'Orfeo - Favola in Musica, de Claudio Monteverdi, composta em 1607, apresentada aqui como uma transcrição historicamente informada, sugerindo a utilização de uma mescla de recursos e instrumentos contemporâneos combinados àqueles específicos da prática musical do repertório setecentista. Tal realização embasou-se na teoria e prática musical do século XVII. Num primeiro momento, foi realizada a análise da linguagem harmônica de Claudio Monteverdi, especialmente empregada nesta ópera, tomada dentro da prática musical sua contemporânea, a partir de tratados teóricos da época, de escritos de Monteverdi e críticas à sua obra. Numa segunda parte, estudaram-se as necessidades técnicas e estéticas para realizar a transcrição da partitura original e a recuperação do significado simbólico dessa linguagem harmônica. E, finalmente, apresenta os passos de construção de uma dentre várias possíveis orquestrações contemporâneas, com sugestões de soluções orquestrais modernas que visam a recuperação dos significados dramáticos sugeridos pela escrita de Monteverdi, sugerindo um conjunto de recursos expressivos, que possam incutir no público de nosso século os afetos de "terror" e "piedade", como definidos na teoria clássica do teatro. / Abstract: The purpose of this study is to present a modern realization of the orchestral score of Claudio Monteverdi's L'Orfeo - Favola in Musica, originally written in 1607. It is presented here as a historically informed transcription, suggesting the use of a mix of contemporary instrumental resources and tools combined with those specific to practices of the seventeenth century. As an initial step, an analysis of the specific harmonic language employed by Claudio Monteverdi in L'Orfeo was done, approached from within his own contemporary musical practice and writings and based on theoretical treatises of the time as well as criticisms of his work. In a second part, technical and aesthetic needs to perform the transcription of the original orchestral score and the recovery of the symbolic significance of this harmonic language are studied as well. At last, it presents steps for the contemporary elaboration of one of the many possible orchestrations of this work proposing modern orchestral solutions that seek the recovery of specific meanings suggested by the dramatic writing of Monteverdi, a suggestive set of expressive resources that can instill in our contemporary public the affects of "terror" and "mercy" as defined in the classical theory of theater. / Doutorado / Doutor em Música