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Texte remanié de: Dissertation--Philosophische Fakultät--Münster--Westfälische Wilhelms-Universität, 1996. / Bibliogr. p. 505-529. Index.

Heinrich Ignaz Franz von Biber's (1644--1704) Mystery Sonatas of 1676 are a set of fifteen sonatas for violin and continuo plus one unaccompanied passacaglia for solo violin. They are unusual in their use of scordatura and in the presence of an image associated with the Rosary devotion before each sonata. This association between image and music in the sonatas, and the correspondence to the fifteen mysteries of the Rosary closely resembles the structure of seventeenth-century Rosary picture books. / In this thesis the context, background, and meaning of the sonatas is explored. The first chapter examines the function of the sonatas and places them in context by outlining musical life in Salzburg, the sonata tradition, the Rosary devotion, Emblem books, and Rosary picture books. The second chapter focuses more on the collection as a whole and on elements such as key, dance affect, and scordatura. The third chapter consists of an examination of three sonatas---each one unique in placing the listener in a different relation to the mystery.

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Originally presented as the author's Thesis (doctoral--Universität zu Köln, 1990). / Includes bibliographical references (p. 171-188).

The purpose of this paper is to create a modern transcription/edition and an historical study of Munich Mus. Ms. 1511b thereby helping to define the social and pedagogical ramifications of lute repertoire from the mid-sixteenth-century. Because of the amateurish nature of the compositions, the conclusion of this study is that a member of the Herwarth family probably used the manuscript for learning purposes. Dance, grounds and other related forms found in the manuscript are discussed. Also included is an incipit concordance that can be used as a cross-reference for further research.

The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.

Zugl.: Köln, Univ., Diss., 2006

Univ., Diss. (für den Druck geringfügig überarb.)--Augsburg, 2006. / Literaturverz. S. [21] - 41.