In this study I research and reflect on my way to embellish music from the baroque. I focus on Georg Phillipe Telemanns music. I work with embellishments in the second movement (Larghetto) from Solo X, Essercizii musici (Hamburg (1740)) for recorder and basso continuo (TWV 41:C5). I try diffrent versions to embellish this movement. I record these versions and enclose a score with all diffrent versions. I do these versions after I have worked with diffrent bakground information connected to this movement. What is it that affects my embellishments? One question is how does Telemann do in his Sonate metodiche? What does this mean to me? Do I want to copy Telemanns way of embellishing? / <p>Jana Langenbruch - blockflöjt</p><p>Elin Nilsson - barockfiol</p><p>Sandra Marteleur - barockfiol</p><p>Andrea Ravandoni - barockviola</p><p>Stina Petersson - barockcello</p><p>Sarah Nygren - barockkontrabas</p><p>Marcus Mohlin -cembalo</p><p></p><p>Musik:</p><p>Nicola Fiorenza (efter 1700 - 1764) Konsert i a-moll Grave, Allegro, Largo e staccato, Allegro assai</p><p>Georg Philipp Telemann (1681 - 1767) Konsert i C-dur - TWV 51:C1 Allegretto, Allegro, Andante, Tempo di Minuet</p><p></p><p>Inspelningar Larghetto ur TWV 41:C5: Jana Langenbruch - blockflöjt (2014)</p>

Submitted by Rafael Gueli Tomaz Silva (rafaelgueli@yahoo.com.br) on 2018-09-28T00:08:47Z No. of bitstreams: 1 Dissertação Gueli Final.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T19:15:05Z (GMT) No. of bitstreams: 1 silva_rgt_me_ia.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) / Made available in DSpace on 2018-09-28T19:15:05Z (GMT). No. of bitstreams: 1 silva_rgt_me_ia.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) Previous issue date: 2018-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho propõe uma abordagem teórica/analítica do conceito e aspectos estruturais de um procedimento explorado por compositores no período barroco conhecido por polifonia latente. Neste período, diversos compositores buscaram expressar uma textura polifônica em uma linha melódica única. Primeiramente, este trabalho consiste em comparar os aspectos estruturais da melodia e polifonia com os da polifonia latente, e em segundo lugar, expor, qualificar e determinar os métodos e estratégias composicionais empregados nas obras analisadas e, assim explicitar aquilo que está latente pela ocultação da multiplicidade de partes em uma linha melódica única, resultando em uma textura polifônica latente. Para o cumprimento dos objetivos propostos adotamos diferentes estudos teóricos, analíticos e históricos, dos quais destacamos Albert Bregman (1994), Alexander Ringer (2001), Allen Forte e Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth (1991), e Walter Piston (1947), estes autores, entre outros, fundamentaram o desenvolvimento do trabalho e a análise das peças, Presto da Fantasia VII em Mib maior para violino desacompanhado de Telemann, e Allemande da Partita em Lá menor para flauta desacompanhada - BWV 1013 de Bach. Verificamos que a aparente melodia que se apresenta na polifonia latente possui características melódicas e polifônicas diferentes, devido a múltiplas continuidades e unidades que a caracteriza. E que, a organização vertical e horizontal explicita na polifonia está condensada em uma linha melódica única na polifonia latente, se tornando então implícita. No fluir da aparente linha melódica única, percebe-se a atuação de várias vozes sem no entanto elas se sobreporem, pois essa técnica é resultado de uma maneira de utilizar os diversos parâmetros musicais onde a alternância entre as notas que se associam umas às outras permite estabelecer uma relação entre elas. / The present work proposes a theoretical/analytical approach to the concept and structural aspects of a procedure explored by composers in the baroque period known as latent polyphony. In this period, several composers sought to express a polyphonic texture in a single melodic line. First, this work consists of comparing the structural aspects of melody and polyphony with those of latent polyphony, and secondly, exposing, qualifying and determining the compositional methods and strategies employed in the analyzed works and thus explaining what is hidden by the occultation of the multiplicity of parts in a single melodic line, resulting in a latent polyphonic texture. In order to fulfill the proposed objectives, we adopted different theoretical, analytical and historical studies, such as Albert Bregman (1994), Alexander Ringer (2001), Allen Forte and Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth , and Walter Piston (1947), these authors, among others, founded the development of the work and the analysis of the pieces, Presto of Fantasia VII in Mib major for unaccompanied violin by Telemann, and Allemande of Partita in A minor for unaccompanied flute - BWV 1013 by Bach. We verified that the apparent melody that displays in the latent polyphony has different melodic and polyphonic characteristics, due to the multiple continuities and units that characterizes it. And that, the explicit vertical and horizontal organization in polyphony is condensed into a single melodic line in latent polyphony, thus becoming implicit. In the flow of the apparent single melodic line, we can see the performance of several voices without however overlapping, since this technique is the result of a way of using the various musical parameters where the alternation between the notes that are associated with each other allows to establish a relationship between them.

While trumpeters know him best for his concertos, Telemann included trumpets in his operas, cantatas, oratorios, orchestral music and mixed chamber music. This project will study the opening suite and conclusion of Tafelmusik II (TWV: D1, 1733) in order to examine his use of the trumpet in a mixed chamber work. Since Telemann was heavily influenced by his environment, the first chapter will focus on the city of Hamburg. As a major port, Hamburg's thriving economy gave rise to a wealthy merchant class, who were among Telemann's greatest supporters. The city boasted of many progressive elements: a democratic government, intellectual societies, foreign visitors, and a great love of music. This made Hamburg an ideal place for Telemann to work. The second chapter will provide an analysis of the movements: their forms, key structures, phrase organizations and orchestrations. After a brief explanation of the Baroque Trumpet, the third chapter will focus on Telemann's use of the trumpet in the work. Special attention will be paid to the methods which he employed to conceal the trumpet's tonal limitations and its relationship to the other instruments of the ensemble.

No description available.

Dissertation--Frankfurt am Main--Goethe-Universität, 2006. / Bibliogr. p. 225-243.

Thesis (M.M.)--University of North Texas, 2001. / Includes bibliographical references (p. 101-104).

Zugl.: Frankfurt (Main), Univ., Diss., 2006

Zugl.: Zürich, Univ., Diss., 2006

abstract: Nikolay Andreyevich Rimsky-Korsakov’s Concerto for Trombone and Military Band and Georg Philipp Telemann’s Sonata in F minor TWV 41:f1 are two works from contrasting periods written by well-known composers. International Music Company first published the Sonata in 1968 for trombone, edited by Allen Ostrander. Rimsky-Korsakov’s Concerto for Trombone was first published in the United States by Leeds Music Corporation in 1952, edited by Davis Shuman. Both of these compositions contain editorial concerns that detract from each composer’s original music. In most modern editions, Rimsky-Korsakov’s Concerto is accompanied by a piano reduction made by Nikolay Sergeyevich Fedoseyev. Although this reduction is the most commonly used accompaniment today, it is overly difficult for the pianist. The reduction also alters musical gestures within the accompaniment written by Rimsky-Korsakov. This project contrasts modern editions of each composition with their oldest known manuscript. For Telemann’s Sonata, this is the first publication in Der Getreue Music-Meister, published by the composer in 1728-29. For Rimsky-Korsakov’s Concerto, this is a copyist’s manuscript that is currently housed at the library of the Moscow State Academic Philharmonic. The centerpiece of this project is the preparation of new solo parts for each work and a new piano reduction for Rimsky-Korsakov’s Concerto that restores the composer’s original intentions and makes clear editorial changes and suggestions. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Syftet med uppsatsen var att göra en fördjupning kring barockens stildrag med utgångspunkt i Georg Philipp Telemanns 12 flöjtfantasior. Först har studier bedrivits i de olika genrerna samt om Telemanns liv och om verket. Därefter har en analys gjorts av utvalda delar av samlingen av de 12 fantasiorna ur synvinkeln italienska stildrag, franska stildrag, tyska stildrag samt stildrag från folkmusiken. Studiens resultat påvisar att nationella stildrag från samtliga ovan nämnda genrer är funna. För att nämna kort något från varje genre har vi exempelvis toccatan från det italienska, ouvertyren från det franska, fugan från det tyska och synkoperna från folkmusiken. Studien påvisar att de vanligaste stildragen i Telemanns flöjtfantasior är de tyska stildragen och stildragen från folkmusik, men ofta är stildrag från de olika genrerna blandade med varandra. Ett annat resultat är att barockrepertoaren är krävande och vill man som musiker tolka Telemann väl är kunskap i uppförandepraxis, såväl som den egna prägeln, viktig. / <p>Georg Philipp Telemann - Fantasia 1</p>