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A MUSICAL-HISTORICAL STUDY OF ITALIAN INFLUENCES IN THREE <em>REGINA CAELI</em> OF THE FRENCH BAROQUE PERIODDuclos, Marie-France 01 January 2019 (has links)
The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux.
The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music
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Frescobaldis förord : Applicerat på Toccata Decima ur första bokenBaldwin Sterner, Kerstin January 2024 (has links)
Girolamo Frescobaldi levde i brytningstiden mellan renässansen och barocken. Han var en av de betydelsefulla tonsättarna som med sin musik förde in musiken i nästa epok, den tidiga barocken. Han tog intryck av tidens uttrycksfulla vokala musik, och förde in det vokala uttrycket i sin instrumentalmusik, affetto vocale. Detta vokala uttryck var något för den tiden helt nytt, varför Frescobaldi skrev ett förord till den samling med Toccator och Partitor han gav ut först 1615 vari han gav detaljerad information om hur han ville att hans musik skulle framföras. Detta förord gav nycklar till den tidens interpreter vad gäller framförandet, liksom det ger nycklar till oss idag. På en av dessa Toccator ur första bandet har jag gjort en fallstudie och applicerat de råd Frescobaldi gav på den. För mig har detta gett en djupare förståelse för den här tiden, och framför allt för Frescobaldis cembalomusik. Den har givit mig förståelse för vad som var nytt och i förlängningen givit mig verktyg för att göra en tydligare interpretation
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