Matching Items (3)
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- All Subjects: Baroque
- Creators: Koonce, Frank
- Creators: Badillo, Noé
Description
Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B.
ContributorsSewell, David (Author) / Koonce, Frank (Thesis advisor) / Rotaru, Catalin (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2019
Description
The desire to orient human civilization within the universe is evident in the most ancient structures of the world, including Stonehenge, the Pyramids of Giza and the Pantheon. The baroque architect, priest and polymath, Guarino Guarini (1624–1683), designed seventeen architectural works and wrote ten treatises on a multitude of subjects, including architecture, mathematics and astronomy. Guarini presents three principles in his treatise on architecture, which connects the art of building (edificare) to the sun (orologia, gnomonica) and to solar mechanics (macchinaria). The Church of San Lorenzo in Turin (1668–1687) is an elegant example of these principles created as built form, with a dome resembling the celestial sphere, aligning the church to God and to the cosmos. The vertical alignment of the dome represents the celestial pole, a cosmological center point that is also known as the axis mundi. The interlocked system of stone arcs that comprise the structure of the dome, represents the rings of an ancient model of the celestial sphere known as an armillary that dates as far back as Eratosthenes (276–194 BC). The following dissertation creates an unprecedented connection between Guarini’s knowledge as an architect, mathematician, astronomer and philosopher, to the Church of San Lorenzo. While a previous theory on Guarini by Marcello Fagiolo briefly established the possibility of a system unifying Guarini’s architecture and academic knowledge, I greatly expand this possibility and argue that Guarini is a heliocentric astronomer, not a geocentrist. San Lorenzo was built at the end of the Baroque period and at the beginning of the Enlightenment, representing the bridge between the classical past and the dawn of the age of modern science. By demonstrating that Guarini believed in a sun-centered solar system, I will argue that for Guarini, the light of the sun was architecturally, theologically and cosmologically of the utmost importance.
ContributorsBadillo, Noé (Author) / Zygas, Kestutis P (Thesis advisor) / Serwint, Nancy (Committee member) / Hendrix, John S (Committee member) / Arizona State University (Publisher)
Created2021
Description
The current project is a study of five violin sonatas by the German Baroque composer Johann Georg Pisendel (1687-1755), arranged for guitar. The first part of the document is comprised of an overview of Pisendel's life and career as a virtuoso violinist, primarily focusing on his time of employment with the Dresden Hofkapelle during the Saxon-Polish Union. This section also examines the history and issues surrounding the Royal Court of Dresden's Schrank II (Cabinet II) music collection, which holds all of Pisendel's manuscripts. Although many of his works were previously lost or attributed wrongly to other composers, new research from the 2008 Deutsche Forschungsgemeinschaft (German Research Foundation) funded project: The Instrumental Music of the Dresden Hofkapelle at the Time of the Saxon-Polish Union aids in providing a comprehensive list and description of each of Pisendel's violin sonatas, either ascertained or conjectural. The second part contains arrangements of five selected violin sonatas for solo guitar. Together with the rationale pertaining to interpretive choices that were made in adapting each sonata for solo guitar, each work includes explanatory notes regarding its history and provenance. The analysis and arrangement of each sonata was conducted from facsimiles of the Schrank II manuscripts, which are currently available to the public through the Saxon State and University Library Dresden (SLUB) online database.
ContributorsFehser, Cheyne Cameron (Author) / Koonce, Frank (Thesis advisor) / Suzuki, Kotoka (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2017