Thesis (doctoral) - Universität, Zürich, 2006. / Includes bibliographical references and indexes.

Zugleich: Diss. phil. I Zürich, 2006 u.d.T.: Georg Philipp Telemanns Kantatenschaffen als Director Musices in Frankfurt am Main (1712-1721). / Register. Literaturverz.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 161-163). Available also in a digital version from Dissertation Abstracts.

Thesis (D.Mus.Arts)--University of Washington. / Bibliography: 232-241.

Inaugural-Dissertation-Leipzig. / Lebenslauf. "Bibliographie der Orchestersuiten": p. 76-86, "Schriftenverzeichnis": p. 87-88.

Inaug.-Diss.--Kiel. / Lebenslauf. "Thematisches verzeichnis der Klavierwerke Georg Philipp Telemanns": 38 p. laid in. "Literatur": p. 66-68.

Inaugural-Dissertation-Leipzig. / Lebenslauf. "Bibliographie der Orchestersuiten": p. 76-86, "Schriftenverzeichnis": p. 87-88.

Inaug.-Diss.--Kiel. / Lebenslauf. "Thematisches verzeichnis der Klavierwerke Georg Philipp Telemanns": 38 p. laid in. "Literatur": p. 66-68.

George Philipp Telemann is often thought of an experimenter with many nationalistic styles during the course of his career. His Corellian Sonatas demonstrate this facet of his work in their employment of Corelli's manner, and the cultivation of the Italian style. Telemann's Corellian sonatas are stylistically close to those of Corelli, and they do not appear to vary widely from the church and chamber sonatas of Corelli; Telemann fused the two sonata types in that dance elements are found in the church sonatas and the abstract elements of the church sonatas are inserted into the chamber sonatas. In addition to the amalgamation of internal elements, Telemann also experimented with the external features, such as the alternation of tempo and the four movement stereotype.

abstract: Abstract   Among Georg Philipp Telemann’s most-performed works is his setting of Psalm 117 (Psalm 116, Vulgate), Laudate Jehovam, TWV 7:25. There are three sources; Telemann’s autograph score (heavily marked and corrected by Telemann’s grandson, Georg Michael), a contemporary set of parts by a copyist, and another set of parts by Georg Michael Telemann based on his corrections to the autograph score. There are currently at least seven editions of this work readily available, none of which fully agrees with the autograph manuscript or original parts. The editions also differ substantially from one another: for example, two of them are in a different key from the others. This clearly points to the need for a new edition. Further, the additions and corrections by Georg Michael Telemann are interesting. These fall into several categories: changes made to correct errors or clarify ambiguities in Georg Philipp Telemann’s original, changes made to reflect performance practice that Georg Philipp might have assumed but that were no longer customary in Georg Michael’s time, adjustments to melody and rhythm that may reflect Georg Michael’s personal taste and preference, and the addition of parts for oboe and viola, along with significant changes to the second violin part that suggest that Georg Michael’s version was intended for performance by a chorus and orchestra, whereas Georg Philipp’s original could be performed as a chamber work, with one singer and instrumentalist per part, or by a larger ensemble. A discussion of the piece, along with scores of both the original version and Georg Michael’s version, provides both scholars and performers with greater insight into this brief but significant work. / Dissertation/Thesis / Doctoral Dissertation Music 2019