If we are to account for a “decisive turn,” four questions must be asked, based upon the preceding considerations. First, what was the artistic ambience in seventeenth-century France that could have imposed a secular keyboard style upon a church-associated instrument? Second, what harpsichord composer or composers had sufficient contact with these organists to influence them to use a more secular style? Third, what stylistic similarities exist between that composer and the organists whose work he may have influenced? Fourth, are any of the same stylistic similarities present in the organ works of other seventeenth-century organ composers? By answering these questions, the writer intends to present evidence that Jaques Champion de Chambonnières was the inspirer of these four stylistic traits which appeared in French Baroque organ music during the second half of the seventeenth century. In so doing we shall regard his influence as a part of the cultural and artistic ambience which existed in France at that time.

The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber.

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T16:44:26Z (GMT). No. of bitstreams: 1 Hora_EdmundoPacheco_D.pdf: 7784572 bytes, checksum: 6dea0baba38779974864d2974087d576 (MD5) Previous issue date: 2004 / Resumo: Com o objetivo de verificar a adequação do sistema de afinação utilizado no século XVII, com a produção musical de Johann Jacob Froberger (1616-1667), elaboramos um sistema de análise de todo o material publicado, visando identificar as eventuais discrepâncias entre eles. Assim, tanto a Denkmaeler der Tonkunst in Osterreich (Viena, Áustria 1903), a primeira edição com as obras do autor, quanto a mais recente e completa Neue Ausgabe sämtlicher Clavier- und Orgelwerke (Kassel, Alemanha 2003), foram comparadas. Os casos excepcionais, aquelas obras que não se adequaram ao parâmetro do sistema, foram extraídas e para elas, elaboramos uma tabela à parte (Tabela 2). Nela, encontramos uma obra que não se enquadra ao mesotônico padrão e para a qual elaboramos um estudo especial (Item 2.5.3), no final destacamos os problemas cruciais da enarmonia. Enarmonias nos instrumentos de afinação fixa não se referem ao temperamento mesotônico padrão com a divisão da coma em -1/4 S. Portanto, algum outro tipo de sistema de afinação foi provavelmente utilizado por Froberger, ainda que de maneira especulativa. Dessa forma, buscando compreender para qual tipo de afinação o compositor pensou as suas obras, centramos o nosso trabalho visualizando as possíveis contribuições proporcionadas aos sistemas de afinação e ao campo tonal da música erudita / Abstract: This work analyses the oeuvre of J. J. Froberger (1616-67) in order to show its adequacy, or eventual discrepancies, with the prevalent temperament in use in the 17th century. Therefore, a comparison was made between the Denkmaler der Tonkunst in Osterreich (Vienna, Austria 1903), the first available edition of Froberger's works, and the more recent and complete, Neue Ausgabe sämtlicher Clavier - und Orgelwerke (Kassel, Germany 2003). The exceptions, pieces which did not match the parameters of the tuning system, were put aside (a list of these pieces can be found on table 2). Among those, one work does not fit the standard meantone temperament, and for this a special analysis is provided (see item 2.5.3), pointing to crucial enharmonic problems at the end. Enharmonies, in instruments with fixed tuning, do not refer to standard meantone temperament, in which the division of the coma is ¿1/4 S. Consequently, it is probable that Froberger made use of other temperament, even if in a speculative way. Along our investigation to comprehend which temperament the composer has made use of when composing his works, we have also focused on his contributions to the field of tuning systems and tonal music / Doutorado / Doutor em Música

The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were representative of the 18th century. These works were performed with an accompaniment of strings and basso continuo. Works from the 20th century included the combination of trumpet, clarinet, and xylophone, with percussion accompaniment, in a piece by Carlos Surinach and trumpet with pre-recorded tape in a work by David Cope. The program was presented on February 26, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.

The Stammbueh or album of Johann Stobaeus, MS Sloane 1021 in the British Library, is dated January 8, 1640. Stobaeus, its owner, was Kapellmeister in Konigsberg, East Prussia. The album contains 164 pieces for ten- or eleven-course lute, including dances, secular pieces with generic titles, and settings of chorale tunes. Other major material includes two short sets of lute instructions; instructions for singers of liturgical music; poems by members of the Komgsberger Diahterkre's; and short rhymes and epigrams, many of which concern the lute. The dissertation presents a complete modern edition of the lute music and lute instructions, with commentary; biographical data concerning Stobaeus, with background material about Konigsberg and East Prussia; a selection of poems and epigrams, featuring all poems concerning the lute; and commentary on the literary material, especially the evidence it provides that the manuscript might have been compiled in its entirety around the written date of 1640, even though the music is old-fashioned.

The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

One of the greatest mysteries in the history of music is the castrato singers of the Baroque era. Castration has existed for many thousands of years, but for the first time in history, it was used for artistic purposes. Who were these men who seemingly gave up their masculinity for the sake of music? By examining the time period and circumstances in which these musicians lived, an answer may be found. Exploring the economic, social, and political structure of the 17th and 18th centuries may reveal the mindset behind such a strange yet accepted practice. The in-depth study of their lives and careers will help lift the veil of mystery that surrounds them. Was their physical sacrifice a blessing or a curse? Was it worth it?

This study is an attempt to shed some light on the treatment of one dissonance—the seventh—in the works of the following composers: Cipriano de Rore (1516-1565); Philippe de Monte (1521-1603); Giaches de Wert (1535-1596); Luca Marenzio (1553-1599); Carlo Gesualdo (ca. 1560-1613); and Claudio Monteverdi (1567-1643). The purpose of this thesis is to discover (1) the frequency of occurrence of primary (relatively accented) sevenths and their inversions (^ chords, etc.) in a selection of each composer's madrigals; and (2) the methods of handling sevenths employed by each composer, with particular emphasis on the relationship between these methods and sixteenth century theory.

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.