abstract: Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement. / Dissertation/Thesis / it is the appendix for the dissertation / D.M.A. Music 2013

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

Das überschaubare Cembalowerk von Iannis Xenakis ist aus musikanalytischer Perspektive ergiebig. Gerade sein erstes (Khoaï, 1976) und letztes (Oophaa, 1989) Werk für Cembalo zeigen auf, wie unterschiedlich er mit dem performativen Aspekt seiner Musik kompositorisch umgegangen ist. Während in Khoaï zahlreiche Überlegungen zur Spielbarkeit mit einflossen, was gerade anhand der Stellen, die Xenakis aus seinen beiden Klavierwerken Erikhthon (1974) und Evryali (1973) übertrug, deutlich wird, konzentrierte er sich bei Oophaa eher auf das dem Werk zugrundeliegende Konstruktionsprinzip und die architektonische Struktur des Werks, was in unspielbaren Stellen resultierte. Der Beitrag zeigt diese dem Werk Xenakis’ inhärente Dichotomie analytisch auf und untersucht aufgrund dessen zwei interpretatorische Lösungsvorschläge für Oophaa. Der Aspekt der Spielbarkeit bzw. Performance-Überlegungen auf Seiten des Komponisten werden somit als einen die Analyse mitbestimmenden Parameter ernst genommen. / The small harpsichord oeuvre of Iannis Xenakis yields a great deal of insight from a musicanalytical perspective. Especially his first (Khoaï, 1976) and last (Oophaa, 1989) works for harpsichord show how differently he dealt with the performative aspects. Whereas in Khoaï, numerous considerations regarding playability were incorporated, which becomes particularly evident in the passages that Xenakis transferred from his two piano works Erikhthon (1974) and Evryali (1973), in Oophaa, he concentrated more on the underlying construction principle and the architectural structure of the work, which resulted in unplayable passages. This contribution analytically demonstrates this dichotomy inherent in Xenakis’ work and, based on this, examines two proposed performative solutions for Oophaa. Thus, the aspect of playability, or performance considerations on the part of the composer, are taken seriously as a parameter contributing to the analysis.

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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.

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François Couperin (1668-1733) was one of the earliest French Baroque composers to merge the Italian style into the French tradition. He had great influence on the development of French Baroque music from the end of the seventeenth century until his death. Couperin's four Concerts Royaux and the ten Concerts Nouveaux (published in 1722 and 1724) were written for the enjoyment of Louis XIV. Those suites were popular in the court before they were published, as they were requested to be performed every Sunday during the years 1714 and 1715 to give pleasure to the king. Rittrato dell'amore is the ninth suite out of the fourteen suites. The purpose of this study is to provide a performance guide and a practical edition of François Couperin's Neuvième Concert Ritratto dell' amore. It also contrasts Italian style and French tradition in the Baroque period, and how Couperin blended both styles together in his Neuvième Concert. In addition, this dissertation summarizes the general principles of Baroque performance practice that one may encounter in Neuviéme Concert, including notes inégales (unequal notes), ornamentation, over-dotting, and other issues. It is especially important for one to understand the performance style of French Baroque music in order to perform these works appropriately, since its notation did not adequately notate rhythmic expectations as traditionally understood and the realization of ornamentations in this period and style is highly specific. The tradition was indeed lost in terms of aural transfer and has been reconstructed through published scholarly work in the last century that is based on treatises of the time. Ongoing scholarly and artistic work should bring us ever closer to the ideals of the period.