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1	Transcribing English Virginal Music for Two Guitars: Historical Perspective, Methodology, and Practical Applications January 2019 (has links) abstract: In the 1950s, Miguel Llobet (1878–1938) and Emilio Pujol (1886–1980) published the first transcriptions of piano and orchestral music for two guitars that became staples in the repertoire. Ida Presti (1924–1967) and Alexandre Lagoya (1929–1999) expanded their efforts with new adaptations of Baroque, Romantic, and Modern music. Following their examples, generations of professional guitar duos have maintained a similar transcription repertoire. However, closer examination reveals noticeable gaps in it as Renaissance works have been largely overlooked. To illuminate this issue, chapter 2 revisits adaptations for two guitars of music originally written for vihuelas, lutes, viols, and the virginal to inquire about the reasons for this neglect and discuss plausible solutions. Because the virginal stands out for its innovative characteristics and alignment with the solo lute works by John Dowland (1563–1626) and John Johnson (ca. 1545–1594), the “English School” of Virginalists is further explored as a potential source of suitable works for transcriptions. Chapter 3 discusses philosophical concepts and editorial practices to propose a method aimed at producing stylistically faithful adaptations of virginal music. The editorial criteria for this method are informed by in-depth reflections on terminology, the ontology of musical works, the notion of authenticity, and common sixteenth-century practices from musica ficta to tuning temperaments and notational conventions. Concerning ethical matters, this chapter assesses authorship issues that originated at the turn of the nineteenth century but are still adopted by modern editors and transcribers. This discussion aims to shed light on both the negative impact on intellectual property and how it can be avoided by simply resorting to the practice of scholarly transcriptions. Chapters 4 and 5 explain the procedures and applications of the proposed method in two parts: adaptation and revision. The first introduces concepts and strategies from choosing suitable works to balancing playability and aesthetic fidelity intended to produce a preliminary version of the original work. The second establishes a knowledge base through musico-historical discussions and comparative analyses of sources that inform editorial decisions and necessary changes to be implemented in the final score. / Dissertation/Thesis / Doctoral Dissertation Music 2019 Music Performing arts authorship guitar method repertoire transcription virginal
2	The ornamentation in the Fitzwilliam Virginal Book with an introductory study of contemporary practice Viljoen, W.D. (Willem Diederik) 26 April 2010 (has links) This study sets out to examine the ornamentation in the manu¬script GB-Cfm 32.G.29 (known as the Fitzwilliam Virginal Book) as representative of late sixteenth-century practice. The sixteenth- and early seventeenth-century ornamentation as practised on the Continent is also investigated, in order to elucidate the contemporary English practice, to evaluate it and place it in perspective. This period's concept of ornamentation is an ars diminutionis. The diminution technique (the breaking up of long note values into smaller ones) is expressed as passaggi (figurations) and ornaments, in order to provide a more elegant expression of the basic notes of a composition. Continental treatises describe the individual ornaments and thus provide a terminology with which to describe these ornaments. The ars diminutionis manifests itself in the FVB as written-out figuration, written-out ornaments and ornaments indicated by sign, the latter consisting of the single and double stroke which are peculiar to virginal music. No explanation for the Virginalists' signs exists, nor are contemporary English instruction books concerning themselves with keyboard ornamentation available. A comparison of the ornamentation of the manuscript with the printed edition of the FVB (1979-80), reveals many inaccuracies in the latter. These consist mainly of printer's errors, such as wrong placements and frequency of occurrence, which do not correlate with the original, and stenographic cancellation signs which are wrongly interpreted as ornaments. All of these are corrected in the present study. A collation of other source copies with the same pieces found in the FVB reveals many textual and ornamentation variants between them. Examining the written-out ornaments in the FVB, one finds that they are identical to the ornaments found in Continental sources. These ornaments are primarily employed as decoration of the individual closes in a cadence, where they occur as diminutions of the notes constituting the cadence. Here they are employed functionally, for example, to resolve the note of resolution in a discant close ornamentally, or to embellish the plain notes of a bass close. They are also used as virtuoso decoration as an intrinsic part of the passaggi, being diminutions of successive intervals. The single- and double-stroke ornament signs appear at first glance to be indiscriminately scattered over the music without purpose. Research into their use reveals them to be employed systematically, besides being decorative elements which add brilliance to the music. The frequency with which they coincide with the pulse unit and the rhythmic pulsation created by it, together with the profusion of their occurrence, make these signs a unique phenomenon in late sixteenth-century ornamentation. Their interpretation remains a difficult issue to clarify. The evidence assembled in this study points to a classification of the strokes according to the accenti e trilli principle. The single stroke can then be interpreted as a slide (from a third below the main note), and the double stroke as a tremolo or tremoletto - the most common sixteenth-century ornament. Its mirror-image, the mordent, is occasionally more appropriate in certain contexts, and in cadences the double stroke followed by a two-note suffix most likely signifies a groppo. / Thesis (DPhil)--University of Pretoria, 2010. / Music / unrestricted Embellishment (music) Fitzwilliam virginal book Harpsicord music history and criticism UCTD
3	Toward a Critical Edition of Gordon Jacob's William Byrd Suite: A Comparison of Extant Editions with The Fitzwilliam Virginal Book Trachsel, Andrew Jason 08 1900 (has links) Despite being recognized as one of the most important compositions in the twentieth¬ century wind band repertoire, the William Byrd Suite presents many obstacles for the conductor and ensemble members. Since its initial publication in 1924, the piece has contained many discrepancies of pitch, articulation, rhythm, dynamics, and phrase completion that appear in the score as well as the parts. Although the work was reissued by Boosey & Hawkes in 1960 and 1991, many of the original errors remained intact. The sheer amount of inconsistencies causes great difficulties for the musicians involved in the rehearsal process, slowing efficiency and resulting in a frustrating impediment to a quality performance. The primary purpose of this study was the creation of a critical edition of Jacob's William Byrd Suite that eliminates errors of extant editions, incorporates modern instrumentation, and considers the source material. To accomplish this, the present project looks at all sources, including the autograph manuscript, orchestral version, published editions, and errata. The editorial process examines the governing philosophy, subsequent editorial decisions and indications, and the final organization of the parts. The study concludes with the inclusion of the full score of the new critical edition. Gordan Jacob William Byrd Suite The Fiztwilliam Virginal Book Fitzwilliam virginal book.
4	Harpsichord : its timbre, its tuning process, and their interrelations Bento, Pedro January 2013 (has links) At the Edinburgh University Collection of Historical Instruments (EUCHMI) there are two virginals where the strings are plucked extremely close to 1/4 of their length over a substantial part of the compass. Principles of Acoustics dictate that in such cases the fourth partial of the resulting sound is unlikely to be produced with any appreciable magnitude. Similar situations affecting different partials also occur when the plucking point is located at other fractional parts of the string length, such as 1/3 or 1/5. A database of plucking points, based on museum catalogues, was created and analysed, so that pitch regions are identified where such phenomena are likely to occur for different categories of instruments. The main cue used in harpsichord tuning is related to beat phenomena produced by partials of two simultaneously played notes, whenever there is a small difference between their frequencies. Partial four being relevant for major thirds and perfect fourths, these intervals may result less accurate, or less reliably tuned, in instruments like the above virginals. Historical sources were surveyed for expressions which describe the cues that tuners were supposed to use in identifying the ideal of an interval. Although expressions such as Schwebungen are mostly related with beats, broader meanings are discussed. Hints of the use of alternative, not beat-related cues, are identified. A series of practical tuning experiments was performed in which selected intervals were tuned, the accuracy of the tuning process being assessed from recordings, which were subjected to spectral analysis. Only cues that could be related to historical sources were used. The effects of factors such as pitch, pitch region, instrument, interval type, and particularly the potential absence of relevant partials were investigated, statistical methods playing a substantial role in the research. A logbook was created, where the experimenter detailed the cues used for each tuned interval in one of the experiments. The recorded information provided some insight into a number of strategies a tuner may use for coping with difficulties in cases of absent or weak partials. The impact of inharmonicity on the exact size of just intervals was also examined, both on theoretical grounds and based on data from the experiments. A number of case studies were included, where a comparison was made between missing partial notes predicted from plucking points and the degree of absence of those partials in the actual spectra for some historical instruments. 786.4
5	Musikens salt : Om ornamentering för klaviaturinstrument under barocken Westblad, Madeleine January 2019 (has links) Syftet med arbetet är att fördjupa min förståelse om hur man utförde ornament på klaviaturinstrument i Europa under barocken. Det grundar sig i en önskan om att kunna göra medvetna val som är underbyggda av kunskap om stilenlig praxis när jag ornamenterar. Mina huvudinstrument är orgel och cembalo, men i detta arbete har jag valt att utgå endast från cembalon för att få en sammanhängande bild och jämförbara ljudexempel.Jag har sökt efter hållpunkter för hur man historiskt smyckade ut musik. Litteraturen jag arbetat med är både från modern tid, och från teoretiker som levde och verkade under renässansen och barocken. Arbetet har kretsat runt fem profilländer – Italien, Spanien, England, Frankrike och Tyskland. Därefter har jag valt ut en kompositör och ett stycke från de sistnämnda tre och fördjupat mig i ornamenteringen.Idén till arbetet grundade sig i en problematik jag ofta ställts inför när jag börjat arbeta med ett stycke av en kompositör som verkat mellan renässansen och barocken; hur man bör genomföra ornamenteringen. Det finns många skolor i hur man bör spela ornament. Ibland betyder samma symbol olika saker i olika länder, eller till och med mellan olika kompositörer i samma land – vi kan i vår tid bara göra vissa antaganden. All kunskap går inte att tillämpa på all musik. Orgel cembalo klavikord spinett virginal ornament ornamentering kyrkomusik drillar Music Musik
6	Saving a Saint : A Study of the Representation of Maria Goretti (1890-1902): a Saint, a Martyr, a Virgin, a Child Cadavid Yani, Helwi Margarita January 2018 (has links) This thesis examines the legend of the Italian virgin martyr, Saint Maria Goretti (1890-1902). Her legend states that she died at the age of eleven protecting her virginity from her assailant Alessandro Serenelli who stabbed her numerous times, and that she granted him forgiveness before she died. Hence, she has been promoted as an example of purity and mercy. The continued relevance of Saint Maria Goretti is demonstrated by the fact that her figure was used to promote the Extraordinary Jubilee of Mercy proclaimed by Pope Francis and first announced in March 2015. The aim of the current study is to examine how Maria Goretti has been portrayed in the Catholic tradition. This is done by analysing Maria Goretti’s official representation found in the papal discourse about her (which consists of homilies, discourses, Angelus, messages and a letter), as well as by analysing the devotional discourse which in this study is comprised of two books that belong to the genre of hagiography. The chosen books: St. Maria Goretti, by Marie Cecilia Buehrle (1950), and St. Maria Goretti: In garments all red, by Fr. Godfrey Poage, C.P. (1950) can be included among the classics written about Saint Maria Goretti in English. I deploy a thematic narrative analysis as method in which I’m concerned with content in terms of themes, and with the ways in which characters are represented. Uncovering the themes that are discussed in the papal discourse and the devotional discourse about Saint Maria Goretti contributes to a better understanding of her representation and, in some measure, to a reconsideration of what she represents. A part of this thesis focuses on the aspects of Maria Goretti’s representation that can be considered problematic because of the claim that it is preferable to choose to be killed rather than to be raped. Therefore, it becomes necessary to include the discourse that treats Goretti’s story from a critical point of view which in this study embraces ethical, psychological, and feminist perspectives. The legend of Maria Goretti has been the object of arguably many studies. This thesis, nonetheless, contributes with a more detailed analysis of the discourse about Maria Goretti at the official level as well as the devotional level. I also seek to give insight into the genre of hagiography and to elucidate that the edeavour of portraying a wholly virtuous individual does not come without it’s complications in terms of the interpretations that can be made of the images that are conveyed. The analysis shows, among other things, that the representation of Maria Goretti misses aspects of reality and the complexity and multifariousness of the subject of sexual violence. I argue that a wholesome and more comprehensive representation of Saint Maria Goretti should include expert knowledge of sexual violence, especially that which can be found within the field of psychology. Saint Maria Goretti Virgin Martyr Representation Papal discourse Devotional discourse Problematic aspects Oversimplifications Sexual violence Rape Hagiography Catholic edificational biographies Chastity Charity Forgiveness Religious Studies Religionsvetenskap
7	Saving a Saint : A Study of the Representation of Maria Goretti (1890-1902): a Saint, a Martyr, a Virgin, a Child Cadavid Yani, Helwi Margarita January 2018 (has links) This thesis examines the legend of the Italian virgin martyr, Saint Maria Goretti (1890-1902). Her legend states that she died at the age of eleven protecting her virginity from her assailant Alessandro Serenelli who stabbed her numerous times, and that she granted him forgiveness before she died. Hence, she has been promoted as an example of purity and mercy. The continued relevance of Saint Maria Goretti is demonstrated by the fact that her figure was used to promote the Extraordinary Jubilee of Mercy proclaimed by Pope Francis and first announced in March 2015. The aim of the current study is to examine how Maria Goretti has been portrayed in the Catholic tradition. This is done by analysing Maria Goretti’s official representation found in the papal discourse about her (which consists of homilies, discourses, Angelus, messages and a letter), as well as by analysing the devotional discourse which in this study is comprised of two books that belong to the genre of hagiography. The chosen books: St. Maria Goretti, by Marie Cecilia Buehrle (1950), and St. Maria Goretti: In garments all red, by Fr. Godfrey Poage, C.P. (1950) can be included among the classics written about Saint Maria Goretti in English. I deploy a thematic narrative analysis as method in which I’m concerned with content in terms of themes, and with the ways in which characters are represented. Uncovering the themes that are discussed in the papal discourse and the devotional discourse about Saint Maria Goretti contributes to a better understanding of her representation and, in some measure, to a reconsideration of what she represents. A part of this thesis focuses on the aspects of Maria Goretti’s representation that can be considered problematic because of the claim that it is preferable to choose to be killed rather than to be raped. Therefore, it becomes necessary to include the discourse that treats Goretti’s story from a critical point of view which in this study embraces ethical, psychological, and feminist perspectives. The legend of Maria Goretti has been the object of arguably many studies. This thesis, nonetheless, contributes with a more detailed analysis of the discourse about Maria Goretti at the official level as well as the devotional level. I also seek to give insight into the genre of hagiography and to elucidate that the edeavour of portraying a wholly virtuous individual does not come without it’s complications in terms of the interpretations that can be made of the images that are conveyed. The analysis shows, among other things, that the representation of Maria Goretti misses aspects of reality and the complexity and multifariousness of the subject of sexual violence. I argue that a wholesome and more comprehensive representation of Saint Maria Goretti should include expert knowledge of sexual violence, especially that which can be found within the field of psychology. Saint Maria Goretti Virgin Martyr Representation Papal discourse Devotional discourse Problematic aspects Oversimplifications Sexual violence Rape Hagiography Catholic edificational biographies Chastity Charity Forgiveness Religious Studies Religionsvetenskap
8	Jesus Christ’s humanity in the contexts of the pre-fall and post-fall natures of humanity: a comparative and critical evaluative study of the views of Jack Sequeira, Millard J. Erickson and Norman R. Gulley Mwale, Emanuel 12 1900 (has links) Bibliography: leaves 653-669 / Before God created human beings, He devised a plan to save them in case they sinned. In this plan, the second Person of the Godhead would become human. Thus, the incarnation of the second Person of the Godhead was solely for the purpose of saving fallen, sinful human beings. There would have been no incarnation if human beings had not sinned. Thus, the nature of the mission that necessitated the incarnation determined what kind of human nature Jesus was to assume. It was sin that necessitated the incarnation – sin as a tendency and sin as an act of disobedience. In His incarnational life and later through His death on Calvary’s cross, Jesus needed to deal with this dual problem of sin. In order for Him to achieve this, He needed to identify Himself with the fallen humanity in such a way that He would qualify to be the substitute for the fallen humanity. In His role as fallen humanity’s substitute, He would die vicariously and at the same time have sin as a tendency rendered impotent. Jesus needed to assume a human nature that would qualify Him to be an understanding and sympathetic High Priest. He needed to assume a nature that would qualify Him to be an example in overcoming temptation and suffering. Thus, in this study, after comparing and critically evaluating the Christological views of Jack Sequeira, Millard J. Erickson and Norman R. Gulley, I propose that Jesus assumed a unique post-fall (postlapsarian) human nature. He assumed the very nature that all human beings since humankind’s fall have, with its tendency or leaning towards sin. However, unlike other human beings, who are sinners by nature and need a saviour, Jesus was not a sinner. I contend that Jesus was unique because, first and foremost, He was conceived in Mary’s womb by the power of the Holy Spirit and was filled with the Holy Spirit throughout His earthly life. Second; He was the God-Man; and third, He lived a sinless life. This study contributes to literature on Christology, and uniquely to Christological dialogue between Evangelical and Seventh-day Adventist theologians. / Philosophy, Practical and Systematic Theology / D. Phil. (Systematic Theology) Adoptionism Alleles Anhypostatic Christology Anthropotokos Alternative Christology Apollinarianism Apthartodocetism Arianism Augustinian model Autosomal chromosomes Autosomal inheritance Born-again Christology Chalcedonian creed Christology from above Christotokos Chromosomes Chromosomal abnormalities Cloning Co-dominance Communicatio idiomatum Complementary base pairing Cri-du-chat syndrome Deoxyribonucleic acid (DNA) Diploid cell Docetism Dominant gene Down syndrome Dynamic incarnation Dynamic monarchianism Eastern Orthodox Christology Ebionitism Embryogenesis Eutychianism Evangelical Christology Existential Christology Functional Christology Genes Gene mutation Gene expression Genome Genotype Gnosticism Hamartiology Haploid cell Heterozygous History of Jesus’ Christology Homoiousios Theology Homozygous Human cloning Immaculate conception Incarnation Incarnational life Inheritance Karyotype Kenoticism Klinefelter syndrome Logos-flesh Christology Meiosis Mitosis Modalistic monarchianism Monarchianism Monophysitism Mutation Nestorianism Nicene Creed One-nature Christology Ontological Christology Organogenesis Patripassianism Phenotype Polygenic inheritance Post lapsarian view/model Prelapsarian view/model Recessive gene Roman Catholic Christology Sabellianism Seventh-day Adventist Christology Sex chromosomes Sex-linked inheritance Speculative Christology Theotokos Turner syndrome Two-natures Christology Unique post-fall Christology Socinianism Soteriology Theotokos Turner syndrome Two-natures Christology Unique post-fall Christology Virginal conception 231.4 Seventh-Day Adventists -- Doctrines Salvation -- Seventh-Day Adventists Fall of man -- History of doctrines Jesus Christ -- History of doctrines Sequerra, Jack Erickson, Millard J. Gulley, Norman R.

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