東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

"NOTES INEGALES" AND ORNAMENTATION I...

HANSON, JAMES DONALD.

Linked to FindBook

Google Book

Amazon

博客來

"NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	"NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25./
Author:	HANSON, JAMES DONALD.
Description:	235 p.
Notes:	Source: Dissertation Abstracts International, Volume: 41-04, Section: A, page: 1462.
Contained By:	Dissertation Abstracts International41-04A.
Subject:	Education, Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8016135

"NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25.
HANSON, JAMES DONALD.

"NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25. - 235 p.

Source: Dissertation Abstracts International, Volume: 41-04, Section: A, page: 1462.

Thesis (D.M.A.)--Peabody College for Teachers of Vanderbilt University, 1979.

Monograph I is concerned with notes inegales (unequal notes) and vocal ornamentation within the solo motets of Francois Couperin. The information about notes inegales and ornamentation is drawn mainly from 17th and 18th century theoretical treatises by Bacilly, L'Affilard, Loulie, Couperin, Hotteterre, and Monteclair. These sources indicate that during the time of Couperin there was rather consistent agreement among musicians concerning the theory and practice of notes inegales and ornamentation. In this monograph, the rules involving these practices are synthesized and discussed with respect to nine of Couperin's motets for solo voice. Two of these motets, Usquequo, Domine and Audite omnes et expanescite, are included in the study as complete scores with detailed editorial comments and application of notes inegales and ornamentation.Subjects--Topical Terms:

1017808
Education, Music.

"NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25.
LDR:04730nam 2200289 4500 001 1401210
005 20111021125402.5
008 130515s1979 ||||||||||||||||| ||eng d
035 $a (UMI)AAI8016135
035 $a AAI8016135
040 $a UMI $c UMI
100 1 $a HANSON, JAMES DONALD. $3 1680332
245 1 0 $a "NOTES INEGALES" AND ORNAMENTATION IN FRANCOIS COUPERIN'S MOTETS FOR SOLO VOICE. A PERFORMANCE ANALYSIS OF ANTON WEBERN'S "DREI LIEDER," OPUS 25.
300 $a 235 p.
500 $a Source: Dissertation Abstracts International, Volume: 41-04, Section: A, page: 1462.
502 $a Thesis (D.M.A.)--Peabody College for Teachers of Vanderbilt University, 1979.
520 $a Monograph I is concerned with notes inegales (unequal notes) and vocal ornamentation within the solo motets of Francois Couperin. The information about notes inegales and ornamentation is drawn mainly from 17th and 18th century theoretical treatises by Bacilly, L'Affilard, Loulie, Couperin, Hotteterre, and Monteclair. These sources indicate that during the time of Couperin there was rather consistent agreement among musicians concerning the theory and practice of notes inegales and ornamentation. In this monograph, the rules involving these practices are synthesized and discussed with respect to nine of Couperin's motets for solo voice. Two of these motets, Usquequo, Domine and Audite omnes et expanescite, are included in the study as complete scores with detailed editorial comments and application of notes inegales and ornamentation.
520 $a In general, this study finds that notes inegales applies to melismatic conjunct passages of equal valued notes and that it consists of performing such notes in an unequal or dotted manner. Further, it is shown that the degree of inequality is affected by the tempo-meter relationship, and by the spirit of the music.
520 $a The primary ornaments discussed include the coulee, tremblement, accent, chute, pince, port de voix, coulade, trait, and tour de gosier. Each ornament is defined and illustrated with examples from the 17th and 18th century writers and from Couperin's motets. An important consideration in the study is that some of Couperin's motets are very detailed in their indications for ornamentation, and others are very sparce in their indications. The study finds that even in the absence of ornament indications, traditional practice expected the singer to have a knowledge to appropriately add the necessary ornaments.
520 $a Monograph II is an analysis of Anton von Webern's Drei Lieder, Opus 25, a cycle of three songs for high voice and piano. The primary purpose of the study is concerned with making effective performance decisions on the basis of detailed analysis.
520 $a The relationship between the music and poetry is discussed with respect to the architectural design of the work as a whole and each song individually, as seen in the use of pitch (range, intervals, and twelve-tone row), rhythm (tempo and rhythmic patterns), dynamic intensity, texture and timbre (quality of vocal sound). The music is shown to conform in many respects to traditional Lieder of the 19th century in spite of its atonal characteristics. For instance, points of intense accent within the poetry are accompanied in the music by high pitches, wide intervals, strong dynamic intensity, accent marks, and by agogic accent as in earlier vocal music. Points of repose within the poetry are accompanied in the music by moderate pitches, soft dynamic intensity, and less general accent as in earlier music. The study shows that within this traditional framework Webern incorporates his unique elements of atonality, and twelve-tone serialism. The analysis shows that Webern used the tone-row in a way that is analogous to the recapitulative elements of tonal harmony. The element of recapitulation or return is seen, for example, in the fact that song no. 1 emphasizes the primary row, song no. 2 emphasizes the inversion form of the row a perfect fourth away, and song no. 3 returns to an emphasis of the primary row at the original pitch.
520 $a In addition to analyzing the expressive features of the music, the problem of vocal preparation is discussed with respect to the rather extreme range, wide intervals, and the very dissonant character of the music. The study discusses logical steps in learning to sing the extreme dissonance found in Opus 25, and also discusses the problems related to the vocal production associated with the rather extreme range of the music.
590 $a School code: 0074.
650 4 $a Education, Music. $3 1017808
690 $a 0522
710 2 $a Peabody College for Teachers of Vanderbilt University. $3 1023173
773 0 $t Dissertation Abstracts International $g 41-04A.
790 $a 0074
791 $a D.M.A.
792 $a 1979
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8016135