"Sweetenings" and "Babylonish gabble": flute vibrato and articulation of fast passages in the 18th and 19th centuries
Gespeichert in:
| Beteiligte Personen: | , , , |
|---|---|
| Format: | Hochschulschrift/Dissertation Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Göteborg
Göteborgs Universitet
2008
|
| Schriftenreihe: | Art monitor
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018805939&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Abstract: | During the 18th and 19th centuries, vibrato as well as the articulation of fast passages was often not indicated in the musical scores, but was left to the players' discretion within prevailing practice. A finger-vibrato technique that this study names the flattement technique was the most recommended vibrato technique in Western classical music throughout the 18th century. Another finger-vibrato technique used was called martellement or Schwebungen. During the first half of the 19th century the flattement technique coexisted on equal terms with chest vibrato, which was during most of the period under investigation slow and controlled, typically four waves on a long note. The syllables and spellings documented for double-tonguing on the flute can be categorized in three techniques, d-g/t-k, d-r/t-d and d-l/t-tl, where d-g, d-r and d-l represent softer nuances. During the 18th and first half of the 19th century, d-l/t-tl was the most common double-tonguing technique in England and Germany, whereas in France it was not much used. Legato could be applied when not indicated during the late 18th century and the first half of the 19th the articulation patterns paired slurs and two slurred, two tipped were commonly recommended. In France, d-g/t-k was the dominating double-tonguing from the late 18th century and on, and the embracing of this technique also in Germany and England in the second half of the 19th century reflects a transition from the 18th century ideal of a rounder execution of an articulated fast passage towards a shorter staccato ideal. The playing techniques recommended in the sources have been tested and evaluated in musical practice by the author. For a more complete understanding of the problem areas, sounding examples from concerts and recordings are integrated in the dissertation. |
| Umfang: | XVII, 350 S. Notenbeisp. CD (12 cm) |
| ISBN: | 9789197591171 |
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| 520 | 3 | |a During the 18th and 19th centuries, vibrato as well as the articulation of fast passages was often not indicated in the musical scores, but was left to the players' discretion within prevailing practice. A finger-vibrato technique that this study names the flattement technique was the most recommended vibrato technique in Western classical music throughout the 18th century. Another finger-vibrato technique used was called martellement or Schwebungen. During the first half of the 19th century the flattement technique coexisted on equal terms with chest vibrato, which was during most of the period under investigation slow and controlled, typically four waves on a long note. The syllables and spellings documented for double-tonguing on the flute can be categorized in three techniques, d-g/t-k, d-r/t-d and d-l/t-tl, where d-g, d-r and d-l represent softer nuances. During the 18th and first half of the 19th century, d-l/t-tl was the most common double-tonguing technique in England and Germany, whereas in France it was not much used. Legato could be applied when not indicated during the late 18th century and the first half of the 19th the articulation patterns paired slurs and two slurred, two tipped were commonly recommended. In France, d-g/t-k was the dominating double-tonguing from the late 18th century and on, and the embracing of this technique also in Germany and England in the second half of the 19th century reflects a transition from the 18th century ideal of a rounder execution of an articulated fast passage towards a shorter staccato ideal. The playing techniques recommended in the sources have been tested and evaluated in musical practice by the author. For a more complete understanding of the problem areas, sounding examples from concerts and recordings are integrated in the dissertation. | |
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Datensatz im Suchindex
| _version_ | 1819362287858745344 |
|---|---|
| adam_text | Contents
CONTENTS OF THE CD
PREFACE
ACKNOWLEDGEMENTS
CONVENTIONS
Introduction 1
I. Subject and purpose 1
II. Previous research 3
III. My contribution 5
IV. Method 6
IV:1 Selecting the source material 6
IV:2 Flute treatises as source material 7
IV:3 Evaluating and analyzing the sources 7
I V:4 Playing as a method of evaluating the sources 8
IV:5 The function of artistic research 8
V. Disposition 10
Parti. Flute Vibrato 13
1.1 Indications from the 17th century 14
1.2 Early 18th century 15
1.3 Around the middle of the 18th century 31
1.3.1 The flattement technique and shaking the flute 31
1.3.2 Tremblement flexible 39
1.3.3 Chest vibrato 41
1.3.4 Martellement 45
1.3.5 Lip vibrato 48
VII
1.4 The late 18th century 48
1.4.1 France 49
1.4.2 England 49
1.4.3 Germany 52
1.5 Southern Europe in the 18th century 61
1.6 Northern Europe in the 18th century 62
First half of the^* century 62
1.7 England, first half of the 19th century 63
1.7.1 Imitating a bell 66
1.7.2 Chest vibrato 68
1.7.3 The flattement technique 69
1.7.3.1 The finger above the hole? 76
1.7.4 The use of the vibration 78
1.8 Germany, first half of the 19th century 81
1.8.1 Slow and controlled chest vibrato 82
1.8.2 The flattement technique 86
1.8.3 Jaw vibrato 89
1.8.4 Where and how vibrato was used 89
1.9 France, first half of the 19th century 100
1.10 England, second half of the 19th century 103
1.11 Germany, second half of the 19* century 108
1.12 France, second half of the 19th century 113
1.13 Northern Europe in the 19th century 115
1.14 Southern Euroupe in the 19th century 116
1.15 Northern America in the 19th century 116
1.16 Symbols 117
1.17 Glossary 118
1.18 Conclusions on flute vibrato in the 18th and 19th centuries 119
VIII
Part 2. Articulation of Fast Passages 125
2.1 The period 1700-1760 127
2.1.1 t or d alternating with r 127
2.1.2 Double-tonguing with d-l/t-tl 130
2.1.3 Double-tonguing with d-g/t-k 143
2.1.4 Single-tonguing 143
2.1.5 Legato-playing and relating to indicated articulation 145
2.2 Germany, second half of the 18th century 147
2.2.1 Double-tonguing with d-l/t-tl 147
2.2.1.1 Triplets 152
2.2.2 Tonguing with r 157
2.2.3 Legato-playing and relating to indicated articulation 157
2.2.4 Double-tonguing with d-g/t-k 162
2.2.5 Single-tonguing 162
2.3 England in the 18th century 164
2.3.1 Double-tonguing with d-l/t-tl 164
2.3.2 Double-tonguing with d-r/t-d 168
2.3.3 Double-tonguing with d-g/t-k and single tongue 169
2.3.4 Legato-playing and relating to indicated articulation 169
2.4 France, late 18* century and the beginning of the 19th century
(neoclassicism) 171
2.4.1 Double-tonguing with d-g/t-k and d-r/t-d 171
2.4.2 Double-tonguing with d-l/t-tl 173
2.4.3 Single tongue 174
2.4.4 Legato-playing and relating to indicated articulation 175
2.4.5 Triplets 178
2.5 Northern Europe in the 18th century 179
2.6 Southern Europe in the 18th century 179
2.7 France c. 1810-1850 180
2.7.1 Double-tonguing with d-g/t-k 180
2.7.1.1 Only fast? 185
IX
2.7.1.2 Triplets 186
2.7.1.3 Reversed double-tonguing 187
2.7.2 Double-tonguing with d-r/t-d 188
2.7.2.1 Reversed double-tonguing 191
2.7.2.2 Triplets 191
2.7.3 Double-tonguing with d-l/t-tl 192
2.7.4 Single-tonguing 192
2.7.5 Legato-playing and relating to indicated articulation 193
2.7.5.1 Articulation patterns 196
2.8 Germany, first half of the 19th century 200
2.8.1 Double-tonguing with d-l/t-tl 200
2.8.1.1 Where and how it was used 203
2.8.1.2 Nuances 204
2.8.1.3 Defence and criticism 205
2.8.2 Double-tonguing with d-g/t-k 212
2.8.3 Double-tonguing with d-r/t-d 215
2.8.4 Single-tonguing 217
2.8.5 Legato-playing and relating to indicated articulation 220
2.9 England, first half of the 19th century 222
2.9.1 Double-tonguing with d-l/t-tl 222
2.9.1.1 Where and how it was used 224
2.9.1.2 Triplets 227
2.9.1.3 Criticism and defence 228
2.9.2 Double-tonguing with d-r/t-d 232
2.9.3 Single-tonguing and double-tonguing with d-g/t-k 235
2.9.4 Legato-playing and relating to indicated articulation 236
2.10 Northern Europe in the first half of the 19th century 240
2.11 Southern Europe in the 19th century 240
2.12 England from c. 1840 240
2.12.1 Double-tonguing with d-l/t-tl 240
2.12.2 Double-tonguing with d-g/t-k 242
2.12.3 Double-tonguing with d-r/t-d 244
2.12.4 Single tongue 245
X
2.12.5 Legato-playing and relating to indicated articulation 245
2.13 Germany, second half of the 19th century 246
2.13.1 Double-tonguing with d-g/t-k 246
2.13.2 Double-tonguing with d-l/t-tl 248
2.13.3 Double-tonguing with d-r/t-d 249
2.13.4 Single-tonguing 249
2.13.5 Legato-playing and relating to indicated articulation 249
2.14 France, second half of the 19th century 250
2.14.1 Double-tonguing with d-g/t-k and single-tonguing 250
2.14.2 Double-tonguing with d-l/t-tl and d-r/t-d 252
2.14.3 Legato-playing and relating to indicated articulation 252
2.15 Sweden, second half of the 19* century 252
2.15.1 Double-tonguing with d-g/t-k and d-r/t-d 252
2.15.1.1 Reversed double-tonguing 255
2.15.1.2 Triplets 256
2.15.2 Double-tonguing with d-l/t-tl 257
2.15.3 Single-tonguing 257
2.16 Advice for practicing double-tonguing 258
2.17 The vowels 261
2.18 Conclusions on the articulation of fast passages
in the 18th and 19th centuries 263
VI. Conclusion 268
Appendices 1 -6 271
References 327
Index of names 347
XI
CONTENTS OF THE CD
Contents of the CD
[1] Johan Helmich Roman (1694-1758)
Sonata IV, third movement (Larghetto), bars 16-17 0 20
[2] Roman Sonata IV, third movement (Larghetto) 2 11
[3] Roman Sonata XI, third movement (Larghetto) 1 15
[4] Roman Sonata II, first movement (Vivace-Adagio-Vivace), bars 73-81 0 58
[5] Roman Sonata II, first movement (Vivace-Adagio-Vivace) 4 15
[6] Roman Sonata III, first movement (Largo), bars 9-12 0 25
[7] Roman Sonata III, first movement (Largo) 212
[8] Roman Sonata VII, second movement (Larghetto), bars 33-37 019
[9] Roman Sonata VII, second movement (Larghetto) 4 22
[10] Roman Sonata IX, first movement (Cantabile), bars 24-30 0 28
[11] Roman Sonata IX, first movement (Cantabile) 4 39
[12] Friedrich Kuhlau Introduzione and Rondo Op. 98,
bars 175-181 0 15
[13] Kuhlau Introduzione and Rondo 8 32
[ 14] Kuhlau Duo Brillante no. 1 in D major Op. 110,
second movement (Andante con moto) 4 13
[15] Kuhlau Duo Brillante no. 1, second movement
(Andante con moto), bars 37-42 0 27
XII
CXINTENTS OF THE CD
[ 16] Kuhlau Duo Brillante no. 1, first movement
(Allegro vivace con energia), bars 201-210 016
[17] Kuhlau Duo Brillante no. 1, first movement
(Allegro vivace con energia), bars 67-77 016
[18] Roman Sonata I fourth movement (Andante), bars 13-17 019
[19] Roman Sonata I, fourth movement (Andante) 2 32
[20] Morten Raehs Sonata No. 3, second movement
(Allegretto), second repeat 1 37
[21 ] Raehs Sonata No. 3, second movement (Allegretto) 2 35
[22] Roman Sonata VI, second movement (Allegro), bars 29-36 0 23
[23] Roman Sonata VI, second movement (Allegro) 2 44
[24] Johann Adolph Scheibe Sonata in D major,
second movement (Allegro), bars 69-74 010
[25] Scheibe Sonata in D major, second movement (Allegro) 4 42
[26] Raehs Sonata No. 3, third movement (Allegro), bars 34-38 0 16
[27] Raehs Sonata No. 3, third movement (Allegro) 222
[28] Scheibe Sonata II in B minor, fourth movement (Vivace),
bars 25-33 010
[29] Scheibe Sonata II in B minor, fourth movement (Vivace) 302
[30] Kuhlau Introduzione and Rondo, bars 44-48 013
[31] Kuhlau Introduzione and Rondo, bars 62-66 O ll
[32] Kuhlau Introduzione and Rondo, bars 78-84 013
XIII
|
| any_adam_object | 1 |
| author | Roman, Johan Helmich 1694-1758 Kuhlau, Friedrich 1786-1832 Kuhlau, Friedrich 1786-1832 Ræhs, Martin 1702-1766 Scheibe, Johann Adolph 1708-1774 |
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| author_facet | Roman, Johan Helmich 1694-1758 Kuhlau, Friedrich 1786-1832 Kuhlau, Friedrich 1786-1832 Ræhs, Martin 1702-1766 Scheibe, Johann Adolph 1708-1774 |
| author_role | aut aut aut aut aut |
| author_sort | Roman, Johan Helmich 1694-1758 |
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| era | Geschichte 1700-1800 Geschichte 1800-1900 Geschichte 1700-1900 gnd |
| era_facet | Geschichte 1700-1800 Geschichte 1800-1900 Geschichte 1700-1900 |
| format | Thesis Book |
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| genre | (DE-588)4113937-9 Hochschulschrift gnd-content |
| genre_facet | Hochschulschrift |
| id | DE-604.BV035948841 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T14:03:23Z |
| institution | BVB |
| isbn | 9789197591171 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018805939 |
| oclc_num | 417662809 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | XVII, 350 S. Notenbeisp. CD (12 cm) |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Göteborgs Universitet |
| record_format | marc |
| series2 | Art monitor |
| spellingShingle | Roman, Johan Helmich 1694-1758 Kuhlau, Friedrich 1786-1832 Kuhlau, Friedrich 1786-1832 Ræhs, Martin 1702-1766 Scheibe, Johann Adolph 1708-1774 "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries Flute Performance 18th century Flute Performance 19th century Vibrato Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Flötenspiel (DE-588)4154648-9 gnd Artikulation Musik (DE-588)4003093-3 gnd Vibrato (DE-588)4063441-3 gnd |
| subject_GND | (DE-588)4170800-3 (DE-588)4154648-9 (DE-588)4003093-3 (DE-588)4063441-3 (DE-588)4113937-9 |
| title | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries |
| title_alt | Sonaten / Ausw. Introduktion und Rondo Duos, Fl Kl, op. 110 / Ausw. |
| title_auth | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries |
| title_exact_search | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries |
| title_full | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries Maria Bania |
| title_fullStr | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries Maria Bania |
| title_full_unstemmed | "Sweetenings" and "Babylonish gabble" flute vibrato and articulation of fast passages in the 18th and 19th centuries Maria Bania |
| title_short | "Sweetenings" and "Babylonish gabble" |
| title_sort | sweetenings and babylonish gabble flute vibrato and articulation of fast passages in the 18th and 19th centuries |
| title_sub | flute vibrato and articulation of fast passages in the 18th and 19th centuries |
| topic | Flute Performance 18th century Flute Performance 19th century Vibrato Musikalische Aufführungspraxis (DE-588)4170800-3 gnd Flötenspiel (DE-588)4154648-9 gnd Artikulation Musik (DE-588)4003093-3 gnd Vibrato (DE-588)4063441-3 gnd |
| topic_facet | Flute Performance 18th century Flute Performance 19th century Vibrato Musikalische Aufführungspraxis Flötenspiel Artikulation Musik Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018805939&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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