Der vorliegende Band vereint fünf Oboenkonzerte, die in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden überliefert sind. Sie werden hier, nahezu drei Jahrhunderte nach ihrer Entstehung, der musikalischen Öffentlichkeit in neuen quellenkritischen Ausgaben vorgelegt. Bei den Quellen handelt es sich hauptsächlich um Abschriften Dresdner Hofnotisten. Sie wurden im sogenannten „Schranck No: II.“ in der Katholischen Hofkirche aufbewahrt, die sie als Repertoire der Dresdner Hofkapelle der ersten Hälfte des 18. Jahrhunderts ausweisen. Dieser Band 19 der Editionsreihe Denkmäler der Tonkunst in Dresden ergänzt in sinnvoller Weise den von Hans-Günter Ottenberg herausgegebenen Band 1, Fünf Fagottkonzerte in Dresdner Überlieferung (2011). Er enthält lediglich fünf der zahlreichen Dresdner Konzerte für Oboe solo mit Orchesterbegleitung.

The main purpose of this dissertation is to offer a modern transcription and critical edition of François Campion's Sonatina in D Major, found in his Piéces de Guitare du S.r Campion from 1748. Since it is not a common practice for the modern classical guitarist to study the baroque guitar and all its idiosyncrasies, this transcription from French tablature into modern notation will make this piece accessible to all classical guitar players. Using his sonatina as an example, this dissertation covers the process of transcribing baroque guitar French tablature while emphasizing a practical performance approach that suits the classical guitar. This approach includes examining tuning differences, suggested transposed notes, ornamental interpretation, and the overall differences in performance practice between both instruments. Not much is known about Campion's life (c1685-1747), but his importance as a musician in France during the early eighteenth century is evidenced by his publications and his accounts as a theorbo and baroque guitar player for the orchestra of the opera company L'Académie Royale de Musique, for which he was employed from 1703 until 1719. Unfortunately, while this music is fairly known and usually performed by early music specialists, it is ignored by modern guitarists, mainly because of the lack of modern transcriptions. This sonatina serves as an original critical edition adaptation for the classical guitar.

This master's thesis concerns the extant masses of Jan František Novák (died 1771), kapellmeister of the cathedral of St. Vitus in Prague from 1737-1758. These masses and their copies are critically examined and subsequently analyzed by focusing on particular types of arrangement as well as in summary. Aspects of musical practice and of the collection of notated music of the metropolitan chapter during Novak's era are also discussed in this thesis.

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.

Paul Schoenfeld (b. 1947) is considered one of the major American composers of the present day to have incorporated many different styles in his music. Although Schoenfeld primarily uses a combination of folk, popular music, klezmer, and jazz in most of his compositions, he has also incorporated other distinctive musical styles in his works, such as neo-Baroque, particularly in his Partita for Violin and Piano (2002). The purpose of this dissertation is to explore the eclectic combination of neo-Baroque and klezmer elements found in Schoenfeld's Partita. This research provides a detailed comparative analysis of his work with Johann Sebastian Bach's Clavier-Übung I, BWV 825–830, and 6 Sei Solo a Violino senza Basso accompagnato, BWV 1001–1006, primarily to see how Schoenfeld made use of Baroque forms, imitative passages, rhythms, and other stylistic features, then fused them with klezmer elements. Klezmer is a genre of music stemming from the Eastern European Jewish tradition; its distinctive characteristics are modal scales and Hasidic vocal ornaments. Knowing the mixture of Baroque and klezmer stylistic influences should help performers to interpret the piece.

There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.

Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...