Thesis (M.A.)--University of Wisconsin--Madison, 1954. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--Vrije Universiteit te Amsterdam, 1989. / Contains the libretto by Thomas Betterton for Purcell's opera adapted from John Fletcher's play. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss.--Bern. / "Der Instrumentstil von Purcell. Anhang. Beispiele 1-240": 20 p. inserted. Vita. Includes bibliographical references.

The Restoration of Charles 11 to the throne of England in 1660 gave rise to a new form of composition. The “Ode,” loosely patterned on the poetry of Pindar and cast in the form of an address, was written for royal occasions such as birthdays and public events and to welcome returning monarchs from their progresses. The primary feature and intent of this poetry was flattery and adulation. Henry Purcell (1659–1695) set sixteen of these texts to music for the Stuart monarchs, and his contributions are considered to be among the best of the genre. Musically, the English Ode is similar to the Italian cantata but is particularly associated with parallel developments in the English verse anthem. The Ode featured the use of solo and concerted voices, chorus, and orchestra with continuo in alternating vocal movements and choruses. Although similar to the operatic prologues of Lully in France in the 1670s, the Ode was wholly an English invention, having no direct counterpart in France. Purcell is credited with expanding the scope of the court Ode with a wider range and sensitivity to dramatic effect, the inclusion of more colourful orchestral instruments to the basic string group, virtuosic writing for fine performers, and the inclusion of ritornelli, recurring ground basses, and other organizational features which gave coherence and unity to the form. However, until very recently there has been little critical evaluation of these pieces, and they are just now beginning to be recognized as masterpieces. Through analysis, this dissertation focuses on the chronological changes of style seen in Purcell's writing of court Odes, of which there is at least one contribution every year from 1680–1695 (with the exception of 1688, the year of James II's departure). The unity of purpose, as well as performers and instrumentalists available at the court (so that Purcell was not compromised in his writing by a lack of talented forces), offers a unique opportunity to examine how his style changed and matured over time. The disposition of movements, harmony, phrasing, structural organization, and counterpoint—perhaps the most important element of his work as a composer—are discussed in the context of his stylistic and technical development. / Graduate

No description available.

In this study, every effort has been made to cover the principal factors in the solos from the incidental music which are peculiar only to this part of Purcell's work. The melody and text have been of primary concern. The effects of the social and economic background of the times and the actual dramatic setting of the songs are given careful attention. It is not the purpose of this work to study the harmonic style of Purcell. This is admittedly a most intriguing and attractive subject. However, as the principal accompaniment is the continuo and the implied harmonies of his figured bass are not always clear the harmonic style will not be treated as an element of the solos. It is fully worthy of individual treatment which would be free to draw upon the vast instrumental examples of his work in a comprehensive study of his style. A complete survey of the songs is included in Appendix D for reference and for the information of the reader. It is hoped that the reader will be encouraged to pursue a closer study of these songs, and to consider their possible use today.

Thesis (D.M.A.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 35-37).

Thesis (D.M.A.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.