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In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.

Scientific style is divided into so-called sub-styles, whose ground of dissociation – reader and its goals, i.e. one of the non linguistic factors, - is component of communication act. All features of sub-style of popularizing science are determined by the ratio between author and reader. Author is qualified specialist and the reader is not specified. The most important function of sub-style of popularizing science is to present formal information. Expressive and appellate functions are realized in conjunction with message and popularizing function. Popularizing science texts, likewise scientific texts are dissociated on the other base, i.e. under the content of rendering information. This principle recognizes exact science, natural and art texts, which are divided according to physiques, mathematics, astronomy and other sciences. The average length of popularizing science sub-style sentence is x=12,5 words. The difference between average length of sentence of all sciences texts is not big (x=12,3 words in art science, x=13,1 words in natural science and x=12,1 words in exact science). Simple sentences dominate in texts of popularizing science sub-styles and totals 66,6 %. In consequence composite sentences makes only 33,4 %. The distribution of sentence length groups in texts of all sciences is not even, but the same tendency is noted: the center of frequencies consists of short sentences, the second place takes very short sentences. The group of average length sentences... [to full text]

Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão ética e patética em música. Tais questões incidem diretamente nas diretrizes performáticas previstas por Monteverdi para realização do stile concitato, procedimento musical encontrado nos Madrigali Guerrieri. Também é realizada uma exegese do textos poéticos dos madrigais onde é revelada a figuração do Eros guerreiro e militante contemplado nas elegias de Propércio e Ovídio bem como nos livros de emblemas amatórios do XVI XVII. Por último, procura-se demonstrar que o stile concitato e seus procedimentos peculiares são dispositivos de ornato dos afetos sugeridos pelos textos dos madrigais, manejados habilmente na música do compositor. / The present work is an investigation about Claudio Monteverdi\'s (1567-1643) Eight Book of Madrigals of 1638, offered to the Sacre and Cesarean Majesty of the Emperor Ferdinand III, ascended to the Ocident high throne in the year 1637. We trace the work historical context and the questions about its publication and dedicatory. We present an analysis of its preface according to the rethoric prescriptions of the demonstrative or epidictic genre which reveals significant discoursive keys and tópoi to the comprehension of the ethical and pathetical matter in music. These questions directly affect Monteverdi\'s performatic guidelines in his stile concitato, a musical procedure found inside the Madrigali Guerrieri. We also do an exegesis of the poetic texts of the madrigals where is revealed the warrior and militant Eros figuration conceived in Propertius and Ovid\'s elegies as well as in the amatory emblem books of XVI and XVII centuries. Finally, we intend to demonstrate that the stile concitato and its procedures are embellishment devices of the affects of the poetic texts in the madrigals, artfully managed in the composer music.

Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão ética e patética em música. Tais questões incidem diretamente nas diretrizes performáticas previstas por Monteverdi para realização do stile concitato, procedimento musical encontrado nos Madrigali Guerrieri. Também é realizada uma exegese do textos poéticos dos madrigais onde é revelada a figuração do Eros guerreiro e militante contemplado nas elegias de Propércio e Ovídio bem como nos livros de emblemas amatórios do XVI XVII. Por último, procura-se demonstrar que o stile concitato e seus procedimentos peculiares são dispositivos de ornato dos afetos sugeridos pelos textos dos madrigais, manejados habilmente na música do compositor. / The present work is an investigation about Claudio Monteverdi\'s (1567-1643) Eight Book of Madrigals of 1638, offered to the Sacre and Cesarean Majesty of the Emperor Ferdinand III, ascended to the Ocident high throne in the year 1637. We trace the work historical context and the questions about its publication and dedicatory. We present an analysis of its preface according to the rethoric prescriptions of the demonstrative or epidictic genre which reveals significant discoursive keys and tópoi to the comprehension of the ethical and pathetical matter in music. These questions directly affect Monteverdi\'s performatic guidelines in his stile concitato, a musical procedure found inside the Madrigali Guerrieri. We also do an exegesis of the poetic texts of the madrigals where is revealed the warrior and militant Eros figuration conceived in Propertius and Ovid\'s elegies as well as in the amatory emblem books of XVI and XVII centuries. Finally, we intend to demonstrate that the stile concitato and its procedures are embellishment devices of the affects of the poetic texts in the madrigals, artfully managed in the composer music.

Bohemian-born Baroque composer, Jan Dismas Zelenka (1679 --1745) and his music have been little known until recently. During his career in Dresden as a court church composer from 1710 until his death in 1745, Zelenka composed over150 sacred choral compositions.The three masses in the collection entitled Missae ultimae (ZWV 19 -- 21) were written toward the end of his life, between 1740 and 1741. Like his other masses, these three are cantata masses, in which the texts of the mass ordinary are divided, and set as separate movements.In each movement of each mass, Zelenka uses various forms, and compositional techniques in two different styles. Some movements are written in stile antico featuring imitative or fugal techniques. Other movements are written in stile moderno, and can be divided into two categories: choruses with orchestral ritornellos, and arias for solo voice or soli voices. Of great interest, however, is the skill with which Zelenka uses these two different styles within a complete setting of the mass ordinary, or even within single movements, creating stile misto in Missae ultimae by matching specific musical approaches to the character of the different texts.I will first discuss various musical forms and styles in the three masses of Missae ultimae. In Chapter 4, I will focus on the first mass, Missa Dei Patris (ZWV 19), since this work shows more stylistic contrast between movements than the other two masses. In Chapter 4, I will outline the compositional techniques of each movement. For the sake of consistency, the titles of each movement have been capitalized as published in Das Erbe Deutscher Musik -- Bands 93 (1985), 100 (1989), and 101 (1989) -- of Breitkopf und Hartel.

abstract: This study compares the Hummel Concertos in A Minor, Op. 85 and B Minor, Op. 89 and the Chopin Concertos in E Minor, Op. 11 and F Minor, Op. 21. On initial hearing of Hummel's rarely played concertos, one immediately detects similarities with Chopin's concerto style. Upon closer examination, one discovers a substantial number of interesting and significant parallels with Chopin's concertos, many of which are highlighted in this research project. Hummel belongs to a generation of composers who made a shift away from the Classical style, and Chopin, as an early Romantic, absorbed much from his immediate predecessors in establishing his highly unique style. I have chosen to focus on Chopin's concertos to demonstrate this association. The essay begins with a discussion of the historical background of Chopin's formative years as it pertains to the formation of his compositional style, Hummel's role and influence in the contemporary musical arena, as well as interactions between the two composers. It then provides the historical background of the aforementioned concertos leading to a comparative analysis, which includes structural, melodic, harmonic, and motivic parallels. With a better understanding of his stylistic influences, and of how Chopin assimilated them in the creation of his masterful works, the performer can adopt a more informed approach to the interpretation of these two concertos, which are among the most beloved masterpieces in piano literature. / Dissertation/Thesis / D.M.A. Music 2013

La tesi si propone un confronto tra la I Filippica di Demostene e la V Filippica di Cicerone allo scopo di individuare se e in che misura Cicerone, nel comporre le Filippiche, abbia avuto come modello stilistico Demostene. / The research makes a compairason between the first Philippic of Demosthenes and the fifth of Cicero in order to investigate if and how Cicero imitated Demosthenes' style when he wrote the Philippics

Made available in DSpace on 2015-03-05T17:53:49Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / É recorrente a idéia de que os manuais de redação têm por objetivo controlar, unificar e modelar as redações dos jornais em acordo com os interesses jornalísticos e econômicos das empresas, demonstrando ser instrumentos a serviço da manipulação dos leitores/receptores. Este trabalho se situa na tentativa de demonstrar que, para além destas características marcadamente ideologizadas, identificadas por muitos nos conteúdos expressos dos manuais de redação, há um conjunto de relações que se formam quando estes dispositivos se encontram à disposição de seus usuários, neste caso, os jornalistas. Ou seja, este trabalho objetiva identificar neste processo de circulação, os “descompassos” existentes entre aquilo que os manuais definem como o ideal para a produção do jornal e aquilo que os jornalistas realizam quando da elaboração do produto, a notícia. No processo de produção, no qual os manuais de redação participam como suporte linear e por vezes definitivo, surge um conjunto de táticas e estratégias que acabam po / It is recurrent the idea that the stile books object to control, unify and model the newspapers editorials in accordance with the journalistic and economic interests of theses companies, demonstrating been a instrument in service of the manipulation of the readers/receptors. This work takes place in the attempt to demonstrate that, beyond those markedly ideologized characteristics, identified by many in the subjects expressed in the stile books, there is a conjunct of relations that are formed when these dispositives are available for its users, in this case, the journalists. That is, this work objective to identify in this process of circulation, the “out of rhythm” between what the stile books define as the ideal for the newspaper production and what the journalists put into practice in the elaboration of the product, the news. In the process of production, of which the stile books participate as a linear support and some times definitive, appears a conjunct of tactics and strategies that end up participat

The French baroque petit motet was the most prolific genre of seventeenth-century France. In this study, three petits motets, specifically Regina caeli settings of French composers Marc-Antoine Charpentier, Nicolas Bernier and François Couperin are examined with an emphasis on the motets’ historical context in relation to the French monarchy and the Italian concepts that the composers incorporated into each work. All three Regina caeli settings display some Italian compositional techniques of the stile moderno in various degrees and were written in different contextual ecclesiastic milieux. The intersections of, as well as distinctions between, musical ideas of traditional French style and Italian innovations was at the center of music and musical discourse during the baroque period. The French were introduced to Italian style by travelling musicians at the court of France; however, when Louis XIV gave Jean-Baptiste Lully the important position of surintendant de la musique, the idea of an authentic unaltered French sound became prevalent among musicians and critics. Lully, strongest defender of “pure” French style, created a strict environment for musicians at court, and only after his death, did composers gain in freedom. The study suggests that a closer association to Louis XIV permitted musicians to integrate more of the Italian stile moderno techniques than those who did not have this opportunity. Crucial figures of the French monarchy, Louis XIV, Philippe II d’Orléans and the duc de Bourgogne were connected to the three composers central to this project and impacted the outcome of their work. With the musical-historical study of three Regina caeli settings, this project demonstrates the importance of the petit motet genre within the repertoire and the need for additional research to increase the accessibility of this inestimable music