Universiẗat, Diss., 2004--Würzburg. / Erscheinungsjahr an der Haupttitelstelle: 2003.

Diss.--Fachbereich Kommunikations- und Geschichtswissenschaften--Berlin--Technische Universität.

Texte remanié de: Inaug.-Diss.--Philosophische Fakultät--Universität Mannheim, Wintersemester 1998/99. / Bibliogr. p. 276-286.

Ph. D.--Austin--University of Texas, 1990).

This thesis deals with a set of compositions by C. P.E. Bach, referred to as "The Last Fourteen Rondos". Thirteen of these are contained in the collections of sonatas, fantasias and rondos for connoisseurs and music lovers. The fourteenth is a separate work, entitled "The Farewell From a Silbermann Clavier in the Form of a Rondo". After establishing the background and the history of these rondos, the thesis then proceeds to a detailed analysis of the various compositional aspects. First, it tries to explain the overall design of the rondos, a design which differs from that normally associated with rondo form. It then deals with the structure of the thematic material and shows Bach's preference for phrase parallelism and a relatively simple melodic and harmonic outline of the various subjects. Special chapters are devoted to the manner in which C.P.E. Bach treats the musical substance, namely, by means of Variation and by systematic development. A short chapter is then devoted to the fantasia sections, which are included into most of the rondos. It is in the field of harmony where C.P.E. Bach emerges as a most important forerunner of nineteenth century musical trends and, consequently, some detailed analyses form a major portion of the chapter dealing with harmony. Special attention is then given to the various aspects of C.P.E. Bach's style and, in particular, to the pianistic · traits. The thesis ends with a brief survey of the influence which C.P.E. Bach exerted on his contemporaries and on later composers.

A collective description and analysis of the first three Prussian sonatas of Bach

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.

Die Studie enthält eine Untersuchung der Naturphilosophie Melanchthons. Sie rekonstruiert die Entwicklung seiner wissenschaftlichen Interpretation des naturphilosophischen Wissens und weist nach, daß die lebenslange Beschäftigung Melanchthons mit naturphilosophischen Problemen ihre Motivation aus Luthers Theologie bezog, wenngleich diese nach einer philosophischen Unterstützung nicht verlangte.

Issued also as thesis, Universität Erlangen-Nürnberg, Erlangen. / Bibliography: p. 388-394.

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.