Hochschule für Musik / Schola Cantorum Basiliensis
Dauerhafte URI für die Sammlunghttps://irf.fhnw.ch/handle/11654/51
Listen
34 Ergebnisse
Ergebnisse nach Hochschule und Institut
Publikation 99 - SonstigesPublikation Lamentatio. Music from the Portuguese Renaissance to the Holy Week(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 29.03.2021) Neiva, Luís; Drescher, ThomasFounded in 1131 and extinct in 1834, the Monastery of Santa Cruz in Coimbra has a long-standing history that intimately intertwines with the history of Portugal. Supported by political and religious powers, it rapidly became the most important cultural establishment in the country. When studying the ‘new institution’ born from the 1527 reform, one is confronted with twenty-one surviving musical sources reuniting a sum of more than a thousand works. From these sources, the P-Cug MM3, is at the center of this publication, more specifically a set of Lamentationes Jeremiae Prophetae, the critical edition of which is the main purpose of this thesis. The text of this piece derives from the Book of Lamentations which consists of five poems that narrate and dwell on the destruction of Jerusalem, in 587-586 BC, which find its liturgical purpose in the Holy Week, during the Tenebrae, a long visual and sonic experience that depends on the music, light manipulation, and spoken word to create the desired cathartic effect on the congregation.11 - Studentische ArbeitPublikation Inszenierung und Überwindung. Satzmodelle und Tonalität in Richard Wagners Lohengrin(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 27.04.2022) Wolf, Jonas; Menke, Johannes11 - Studentische ArbeitPublikation An Exploration of Range, Mode and Performance Practice in Hildegard von Bingen’s “O tu illustrata”(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Weston, Karin; Landerkin, KellyHildegard von Bingen’s “O tu illustrata” is a puzzle of a piece, both due to its modal instability and its extravagant range of an 18th. Thought of as “impossible” to sing, most recordings and editions have made major changes to the melody, especially in the verse. What did Hildegard intend with “O tu illustrata”? How should one approach singing it now? This paper explores possible answers to these questions, drawing on contextual clues from Hildegard’s life story, her musical milieu, her other works, modal and textual analysis of the piece, modern editions and recordings, and what is even possible for the human voice.11 - Studentische ArbeitPublikation Gravität und Vielfalt. Bachs Flügel(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Schick, Leonard; Ahrens, ChristianDiese Arbeit beleuchtet die Rolle des Cembalos bei Johann Sebastian Bach sowie in dem Kontext, in dem er dieses Instrument vorfand und benutzte. Der erste Teil der Arbeit hat zum Thema das wandelnde Umfeld in dem sich das Cembalo befand. Dabei wird auf die Rolle der konkurrierenden Instrumente eingegangen. Der zweite Teil der Arbeit beschäftigt sich mit den verschiedenen Dispositionen und Cembalobauern. Der letzte Teil setzt sich mit der Bedeutung dieser Informationen für Bachs Musik, sowie mit der Bedeutung, die Bach für die Entwicklung dieser Instrumente hatte, auseinander.11 - Studentische ArbeitPublikation Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Scarborough, Holly; Kirnbauer, MartinThe mummeries, or masked dances, of Freydal (1512–1515), one of Maximilian's allegorical autobiographies, are a realistic portrayal of a flamboyant form of courtly entertainment denounced by the Church, and its colorful miniatures reveal thirty-five transverse flutes with diverse sizes, bore-widths, and colors, reflecting a transitional decade in the history of the flute. Noble ladies hosted these mummeries in their Frauenzimmer, where flutes and drums were also important for dance practice. The flutes of Freydal appear mostly in ensemble with drum, but also with trombone, other flutes, and singers, and historical records list dance and military flutes separately, suggesting that the quality of Maximilian's flute-and-drum music was closer to the revered alta capella than the military duo. Flutists, who were likely multiinstrumentalists capable of doubling and reading notation, wear black silk masks and matching costumes with Freydal's dancers, indicating an elevated social standing. By attaching himself to transverse flutes in his paper propaganda, Maximilian evokes the glory of crusade, local German tradition, and sensual, humanist ideals, thus marketing himself as "the merriest king."11 - Studentische ArbeitPublikation The Early Compositional Style of Madalena Casulana: A Reassessment of the Current Known Sources of Casulana’s Life and an Analysis of her Four Madrigals in Il Desiderio, 1566(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 11.04.2022) Sadler, Liane; Vogt, FlorianThis study reassesses the primary sources which trace the life of Madalena Casulana (c. 1540 – c. 1590), including in-depth analyses of her first four madrigals which were published in the anthology Il Desiderio in 1566. As the first European woman to have published collections of music in her own name, her early works are seminal in the history of music, and yet widely unknown by the public and largely neglected even by music historians and early music specialists. Through examining her context and life in addition to the historical composition techniques used in these four works, this study aims to better understand Casulana’s early compositional style.11 - Studentische ArbeitPublikation Singing to the lute in the early 16th century(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Roux, Emma-Lisa; Croton, PeterThis study focuses on the art of self-accompanied song in the first half of the 16th century, by firstly examining settings of public and private performances of secular and sacred music in French and Italian courts as well as surviving accounts of singing instrumentalists from Italy and Spain, and repertoire for voice and lute found in French, Italian or Spanish sources. Secondly, this study explores didactical sources, such as instructions for lute, vihuela, recorder or viol, or music theory and composition. The third part of the study concentrates on the process of creating progressive material to guide the lutenist to sing to their instrument, based on the historical sources and the repertoire studied in the first two parts.11 - Studentische ArbeitPublikation Stratégies de contrafacture dans le Glogauer Liederbuch. Une étude de cas: Ave sidus clarissimum / Der seyden schwantcz(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Romanens, Matthieu; Lewon, MarcMany items in the so-called Glogauer Liederbuch (ca. 1480) bear a sacred text but were originally transmitted with a secular text and composed accordingly: such is the case with Ave sidus clarissimum / Der seyden schwanz. This piece also has the particularity to be often transmitted without text and therefore considered as ‘instrumental’. Incorporating recent research on 'Central Europe' and 'Contrafactum', I present a case study examining aspects of a musical cultural exchange. After a philological analysis of the item in the source, I examine the Latin text and its reworking into the musical structure. Eventually, I show how the scribe presumably responsible for new text underlay reacted to melodic and contrapuntal devices.11 - Studentische ArbeitPublikation La pratique du violon, un outil pour jouer la trompette naturelle(Hochschule für Musik Basel FHNW, Schola Cantorum Basiliensis, 04.04.2022) Mourault, Olivier; Madeuf, Jean-FrançoisAltenburg dans son traité sur la trompette insiste sur la polyvalence des trompettistes pouvant jouer du violon, à son époque au XVIIIème siècle. Ce travail fournit des preuves de la polyvalence des trompettistes sur d’autres instruments et particulièrement sur le violon à l’époque baroque, et tente de comprendre dans quelle mesure jouer du violon est bénéfique au trompettiste dans sa pratique instrumentale.11 - Studentische Arbeit