Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2016
…
1 page
1 file
Published in 1676 in London, the Neapolitan composer’s sixty-nine short pieces are grouped together in twelve suites, the second volume
Carlo Ambrogio Lonati (c.1645-post 1701), known as ‘Il gobbo della Regina’ (the hunchback of Queen Christine of Sweden) was a multifaced figure. He was a violinist, composer, and singer operating in Italy and elsewhere in Europe in the late seventeenth century, whose virtuoso violin music is considered among the most outstanding of the period. So far however, research has been limited to the study of only one collection of twelve sonatas, and lacks insight into his other violin pieces. Scholarship on Lonati’s violin music is thus in great need of a new integrated study of its stylistic features in relationship to performance practices. In this paper I will focus on newly discovered sources of Lonati’s violin music and demonstrate what performers can learn from it in terms of performance practice. The requirement of an enigmatic five-string instrument and the dazzling basso continuo writing, the extensive use of scordatura, chordal and polyphonic passages in double and triple stops, a fascination with arpeggios, bow vibratos, the appearance of pasticcio-sonatas are just some of the aspects I will take into consideration. Furthermore, my investigation — which will not be limited to the violin itself but also to other string and continuo instruments — will illustrate a wider approach to performance practices utilized in northern Italian areas, particularly in Bologna, Modena, Venice, and Milan at the turn of the eighteenth century. The methodological core of the paper lies in a strict relationship between (mainly manuscript) source study and performance practices with the purpose of showing how texts were handed down and how musical practice changed in time.
2012
This thesis presents a holistic approach to the music and life of the Spanish contemporarycomposerTomásMarco(b.1942).Suchanapproachcombinesa number of interconnected perspectives (historical, sociological, philosophical, analytical and performative) that aim to provide a general picture of Marco's music and intellectuality, proposing over-arching analytical frameworks that take as a point of departure, but go beyond, the consideration of a selection of Marco'sworksforviolin. The lack of scholarship on Marco in English makes necessary a biographical introduction, presented in Chapter 1: a number of crucial historical and sociologicalelementsareconsideredinordertodevelopacriticalperspectiveon Marco's life and oeuvre. Chapter 2 analyses Marco's relationship, during the 1960s, with the avant-garde Spanish musical movement ZAJ. It traces the parallelisms between ZAJ and Fluxus, considers its political dimension and exploresitsinfluenceontheformationofMarco'smaturemusicalidiom.Chapter 3examinestheconnectionsbetweenMarco'sthinkingandTheodorW.Adorno's and Henri-Louis Bergson's philosophies. Such analysis seeks, ultimately, to uncoverMarco'sconsiderationoftimeanditsrelationshipwithspecificelements oftheirphilosophicalworlds,whichwillworkasthebasisforthedevelopment andapplicationofanumberoftime-relatedanalyticalperspectives,inChapter4, on Marco's works Umbral de la Desolación, Dúo Concertante nº 3, Dúo Concertantenº6andIris. Performanceplaysakeyroleinthoseanalyticalperspectives:Iincludemyown recordingofMarco'sworks,usedbothasanalyticalmaterialandtointroducethe centralityoftheperformativesideofmusic,asitsrealisationthroughtime,inthe considerationandanalysisofmusicaltime. A second volume, consisting of an important collection of material on which a significant part of the arguments developed throughout the thesis are based, is includedfortwomainreasons:thelackofmaterialinEnglish,andthehopethat this research project might ignite an interest inMarco'sworkandthe world of Spanishcontemporarymusictowhichtheannexedmaterialisclearlyrelevant. II III Contents VOLUMEI Preface 1-3 Chapter1:ABiographicalIntroduction 10 "Naturalmente, esto no representa un definido estudio de la composición en sí, pero no hay dudadequeconestesistema,máslaasistenciaaconciertosprovistodelapartitura,elestudiante va desentrañando los secretos de la técnica musical. Es todo lo contrario de una seca clase de viejaescuela,dondesehablabamuchoynoseoíamúsica,dondelaarmoníaseenseñabacomosi fueraunproblemamatemáticoouncrucigrama.Marcoseacostumbraaconocerlamúsicadesde dentrodelamismamúsica,yseguramenteahínacesupreocupaciónporlaforma,queaúnrige suproducción". 11 LangerismainlyreferringtoKoechlin'sarticleentitled'Letempsetlamusique',publishedin LeRevueMusicalein1926(VII,3,p.48). 12 ThemusicalparadigmsatSpanishconservatoriesatthetimewereobsoleteaftermanyyearsof autarchicisolationduringwhichtheregime'simposedmusicalmodelwasRodrigo'sConciertode Aranjuez.Theissueofthesocialconsiderationofmusicmightbepartofahistoricalcontinuum, butitwasneverthelessevenmorerelevantatthetime. inhisseriesofDuoConcertantes(1974-1995),twoofwhichwillbeanalysedin Chapter 4. One further line of research would be initiated during the 1970s: Marco studies the possibilities of colour as a formal element. The ideas of chromatic or timbral volumes, related to notions originally developed by the Italian futurists (see Apollonio 2009), serve as the formal basis for pieces like
2019
Since around the middle of the 20th century, the baroque violin has been gradually rediscovered for use in early music performance. This research project is an investigation into the processes of developing and presenting new music for the baroque violin, drawing on my experience both as an early music baroque violinist and as a contemporary music modern violinist. This research project aims to uncover ways in which the baroque violin may be used to express 21st-century music. This is presented in three volumes: Volume 1, this Exegesis, outlines the processes and outcomes of the project; Volume 2, an online Catalogue, details techniques and approaches to the baroque violin, for composers and interpreters, that may be used in 21st-century music; and Volume 3, recordings of three Recitals, each programmed to reflect on the significant stages of the research project. The development of five new works for the baroque violin, written by Australian composers Jacob Abela, Biddy Connor, Vin...
Musica Iagellonica, 2011
The following bibliography is divided in five different parts that might be interesting to violin students and teachers. The first part, The Violin, has writings and one video concerning the instrument itself, the history, its influence, performance practices, important repertoire surveys and analysis as well as famous violin players and teachers. The second part, Violin Playing, has important treatises, and books about specific technical aspects. The supplementary section String Pedagogy has three books more directed to a music educator; however, they serve as valuable reference source to young violinists who are starting a teaching career. The third part, Violin Technique, has selected non-common violin methods highly developed and helpful. The fourth part, Health and Practice, has books and articles (some from a scientific approach) concerning the physical and mental wellness of the violinists (and musicians in general). The health and practice are two correlated terms that help to prevent injuries or waste time and energy. The last part, Orchestral Practice, has literature about playing in an orchestra, auditions, and helpful tools to prepare for this path which is part of a violinist career.
2012
This thesis presents a holistic approach to the music and life of the Spanish contemporary composer Tomas Marco (b. 1942). Such an approach combines a number of interconnected perspectives (historical, sociological, philosophical, analytical and performative) that aim to provide a general picture of Marco’s music and intellectuality, proposing over‐arching analytical frameworks that take as a point of departure, but go beyond, the consideration of a selection of Marco’s works for violin. The lack of scholarship on Marco in English makes necessary a biographical introduction, presented in Chapter 1: a number of crucial historical and sociological elements are considered in order to develop a critical perspective on Marco’s life and oeuvre. Chapter 2 analyses Marco’s relationship, during the 1960s, with the avant‐garde Spanish musical movement ZAJ. It traces the p...
In 1676 the Italian violinist, singer and composer Carlo Ambrogio Lonati (c.1645–post 1701), known as Gobbo (the ‘Hunchback’), reached London with soprano castrato Marco Godia. The anonymous extensor of A Comparison between the French and Italian musick (London, 1709) reported a second – questionable – route in 1687. Lonati was not forgotten and in 1724 was mentioned in the auction advertisement of some violins among which one presumed to be his own. Besides these three laconic records, many of his compositions reached the British Isles where they were copied, perhaps altered, and handed down between the end of the Seventeenth and the beginning of the Eighteenth century. His violin sonatas were printed by Walsh and cribbed in important manuscript miscellanies, such as the ‘Finch-Armstrong manuscript’, while his trio-sonatas (simfonie) had a complex tradition not detectable in Italy. Many works reconnectable to English sources —among which an incomplete violin sonata and a group of twelve trio-sonatas just rediscovered — are single pieces not available elsewhere; others made possible instead a study of authorship which has permitted to ascribe to Lonati a sonata previously attributed to Corelli. The paper presents the first survey of Lonati’s reception and the dissemination of his oeuvre in Britain. An insight in ancient catalogues and accounts will be used to trace the spread and reception of his music, while the possibility to interconnect several sources of his violin solo sonatas, simfonie and vocal music, hitherto never considered, offer new perspectives for the study of his influence on English music context.
Musica Iagellonica, 2011
Plainsong and Medieval Music, 2001
2017
The full thesis for this degree consists of three components: a recording of José Siqueira's Sonata No. 02, José Alberto Kaplan's Nordestinada, José Orlando Alves's Sonatina for Violin and Piano and Introspecções, Ticiano Rocha's Lágrimas de Oort for Violin Solo, and Marcílio Onofre's Caminho Anacoluto II for Violin and Piano, scholarly notes to accompany this recording, and a final solo recital presenting these works. The recording was produced in June and July, 2017 at the University of Alberta's Convocation Hall, while the recital was presented at the same venue on September 17, 2017 at 7:30 p.m. The scholarly notes seek to position the I would like to thank all the composers involved in this project.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.
مواد و فناوری های پیشرفته, 2017
Formação e desenvolvimento profissional dos docentes de língua gestual portuguesa (Grupo de recrutamento 360), 2019
Atmospheric Chemistry and Physics, 2013
Energy Economics, 2012
Labor Studies Journal, 2023
Revista Argentina de Ciencia Política, 2024
Jurnal Pendidikan Teknik Elektro Undiksha
David García-Reyes
Bulletin of the psychonomic society, 1987
Lecture Notes in Computer Science, 2006
Pharmaceutics, 2021
Journal of Industrial Microbiology & Biotechnology, 2008
The Journal of Thoracic and Cardiovascular Surgery, 2019
Historical Studies in Education / Revue d'histoire de l'éducation, 2002
Physiologia Plantarum, 1999
2016
Infectious Diseases in Clinical Practice, 2015