@phdthesis{Rotem2015,
  author    = {Rotem, Elam},
  title     = {Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de' Cavalieri},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-145079},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2015},
  abstract  = {In this work, Emilio de' Cavalieri's musical sources will serve as a platform in an attempt to overcome the lack of explicit original guidance and guidelines of performance practice of early basso continuo. It will offer a methodology that will allow the unraveling of implicit theory and practice hidden in the music sources themselves. The methodology of this work is based on the fact that Cavalieri's Rappresentatione di Anima e di Corpo (Rome, 1600) is printed using a unique continuo notation, which is detailed, precise, and coherent—more so than any other contemporaneous printed source. Through thorough investigation of this continuo notation, it will be possible to enrich our practical as well as theoretical knowledge of the early basso continuo. A wide range of evidences will emerge, covering a wide spectrum, from general questions of instrumentation up to the very notes that should be played. Using a special notation for illustration, I will demonstrate how Cavalieri's basso continuo figuration, when combined with the known rules of counterpoint, is at times equivalent to written-out realizations. As part of this study, different models of contrapuntal phenomena will be analyzed, mainly in the context of cadences but also in the context of other progressions that deserve to be recognized as formulas. Their theoretical structure will be uncovered as well as their actual application in music and their manner of execution. The prevalence of each phenomenon will be examined in order to distinguish common and recurrent phenomena from rarely-used formulas. In order to do this, and due to problematic historical terminology, it will be necessary to create a set of new terms inspired by Cavalieri's notation. Those terms will not be solely relevant to Cavalieri's music; the models were made flexible so that they may prove useful for future discussions or studies of early continuo in general. Out of the known early basso continuo sources, a "mini-compendium" of practical implications will be extracted in order to exhaust the practical knowledge implicit in them. This endeavor will be concluded with a list of rules and general advice drawn from the sources, but it will also reveal some problematic aspects of these sources. This endeavor will make it possible to compare the "new" implicit practical information deduced in this study with the explicit known continuo sources, and assess to what extant Cavalieri's continuo practices illuminate and complement the known knowledge from previously-studied yet opaque sources of basso continuo. The focus of this dissertation is on Cavalieri's music, but the findings proposed here will be traced so as to illuminate the broader realm of the early Baroque and the 17th century musical style at large. Finally, this new research about Cavalieri's music and continuo, along reevaluating of its place among the common continuo sources, calls for redistribution of source materials on the traditional "shelf" of early basso continuo sources.},
  language  = {en}
}
@phdthesis{Rotem2015,
  author    = {Rotem, Elam},
  title     = {Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de' Cavalieri},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-145696},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2015},
  abstract  = {In this work, Emilio de' Cavalieri's musical sources will serve as a platform in an attempt to overcome the lack of explicit original guidance and guidelines of performance practice of early basso continuo. It will offer a methodology that will allow the unraveling of implicit theory and practice hidden in the music sources themselves. The methodology of this work is based on the fact that Cavalieri's Rappresentatione di Anima e di Corpo (Rome, 1600) is printed using a unique continuo notation, which is detailed, precise, and coherent—more so than any other contemporaneous printed source. Through thorough investigation of this continuo notation, it will be possible to enrich our practical as well as theoretical knowledge of the early basso continuo. A wide range of evidences will emerge, covering a wide spectrum, from general questions of instrumentation up to the very notes that should be played. Using a special notation for illustration, I will demonstrate how Cavalieri's basso continuo figuration, when combined with the known rules of counterpoint, is at times equivalent to written-out realizations. As part of this study, different models of contrapuntal phenomena will be analyzed, mainly in the context of cadences but also in the context of other progressions that deserve to be recognized as formulas. Their theoretical structure will be uncovered as well as their actual application in music and their manner of execution. The prevalence of each phenomenon will be examined in order to distinguish common and recurrent phenomena from rarely-used formulas. In order to do this, and due to problematic historical terminology, it will be necessary to create a set of new terms inspired by Cavalieri's notation. Those terms will not be solely relevant to Cavalieri's music; the models were made flexible so that they may prove useful for future discussions or studies of early continuo in general. Out of the known early basso continuo sources, a "mini-compendium" of practical implications will be extracted in order to exhaust the practical knowledge implicit in them. This endeavor will be concluded with a list of rules and general advice drawn from the sources, but it will also reveal some problematic aspects of these sources. This endeavor will make it possible to compare the "new" implicit practical information deduced in this study with the explicit known continuo sources, and assess to what extant Cavalieri's continuo practices illuminate and complement the known knowledge from previously-studied yet opaque sources of basso continuo. The focus of this dissertation is on Cavalieri's music, but the findings proposed here will be traced so as to illuminate the broader realm of the early Baroque and the 17th century musical style at large. Finally, this new research about Cavalieri's music and continuo, along reevaluating of its place among the common continuo sources, calls for redistribution of source materials on the traditional "shelf" of early basso continuo sources.},
  language  = {en}
}
@phdthesis{Dorofeev2019,
  author    = {Dorofeev, Maria},
  title     = {Das Tropenrepertoire der Kathedrale von Chartres im 13. Jahrhundert im europ{\"a}ischen Kontext: Untersuchungen anhand der Handschrift Provins Bibliot{\`e}que Municipale 12 (24) und Transkription},
  doi       = {10.25972/OPUS-18213},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-182132},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2019},
  abstract  = {Das tropierte Graduale Provins 12 des fr{\"u}hen 13. Jahrhunderts aus der Kathedrale von Chartres ist ein Zeugnis f{\"u}r die sp{\"a}te Tropenpraxis aus Nordfrankreich. Der Gegenstand meiner Untersuchung ist das Repertoire der Propriumstropen aus der Handschrift Provins 12. Der vorliegende Tropenbestand umfasst 132 Elemente. In meiner Dissertation bin ich den r{\"a}umlichen und zeitlichen Schichten, Provenienzen und Transferwegen in der Tropen{\"u}berlieferung nachgegangen. Ziel war es, folgenden Fragen zu kl{\"a}ren: Welche Stellung nimmt der Tropenbestand aus Chartres innerhalb des europ{\"a}ischen {\"U}berlieferungskontexts ein? Kann man das vorhandene Repertoire als ein lokales bzw. regionales Produkt betrachten oder sind in dem Bestand aus historischer Perspektive zeitliche Schichten auszumachen?},
  subject      = {Tropus},
  language  = {de}
}
@phdthesis{Standke2022,
  author    = {Standke, Sarah Laila},
  title     = {ECLAT - Das Stuttgarter Festival f{\"u}r Neue Musik in Geschichte, Kontext und Dramaturgie},
  doi       = {10.25972/OPUS-28905},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-289057},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2022},
  abstract  = {Diese Dissertation hat das ECLAT Festival Neue Musik Stuttgart zum Gegenstand der Forschung genommen und m{\"o}chte dieses aus unterschiedlichen Perspektiven allumfassend betrachten. 1980 als Tage f{\"u}r Neue Musik Stuttgart gegr{\"u}ndet und 1998 in ECLAT umbenannt, z{\"a}hlt es heute zu den wichtigsten Festivals f{\"u}r zeitgen{\"o}ssische Musik in Deutschland und genießt einen internationalen Ruf. In der wissenschaftlichen Forschung ist das ECLAT Festival jedoch bisher nicht aufgegriffen worden. Diese Arbeit m{\"o}chte daher eine L{\"u}cke schließen nicht nur als Beitrag zur musikalischen Institutionsgeschichte, sondern auch in der Anwendung des Konzeptes der Dramaturgieanalyse, mit der die dramatische Gestalt und Struktur eines Festivals f{\"u}r zeitgen{\"o}ssische Musik erforscht wird. Detailliert besch{\"a}ftigt sich die Dissertation mit der Historie des Festivals seit seiner Gr{\"u}ndung bis hin zur Gegenwart sowie mit den es umgebenden Umst{\"a}nden, Personen und Institutionen in Stuttgart. Ein besonderes Augenmerk wird hierbei auf den damaligen SDR und heutigen SWR als langj{\"a}hrigem Kooperationspartner des Festivals gelegt. Neben dem methodischen Blickwinkel und der Quellenanalyse im Sinne der historischen Musikwissenschaft, liegt der musikwissenschaftlich-angewandte Fokus auf einer Dramaturgie- und H{\"o}ranalyse in einem gr{\"o}ßeren, interdisziplin{\"a}ren Kontext. Diese wurde exemplarisch mit einer Herausarbeitung der jeweiligen Schwerpunkte und Themen sowie deren Kontextualisierung anhand der einzelnen Festivaljahrg{\"a}nge zwischen 1998 und 2013 durchgef{\"u}hrt — ein Zeitraum, der sich von der Umbenennung des Festivals von Tage f{\"u}r Neue Musik Stuttgart zu ECLAT, die mit einer inhaltlichen Neupositionierung einherging, und bis zum Ende der {\"u}ber mehr als zwei Jahrzehnte dauernden alleinigen K{\"u}nstlerischen Leitung von Hans-Peter Jahn erstreckt.},
  subject      = {ECLAT (1998 : Stuttgart)},
  language  = {de}
}
@phdthesis{MesquitaiJoanes2021,
  author    = {Mesquita i Joanes, David},
  title     = {"El Contrapunto se estudia para echarlo de repente". Improvisierter Kontrapunkt in Spanien um 1700.},
  doi       = {10.25972/OPUS-25111},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-251115},
  school      = {Universit{\"a}t W{\"u}rzburg},
  year      = {2021},
  abstract  = {Mit der vorliegenden Dissertation m{\"o}chte ich einen Beitrag zur Erforschung des schriftlosen Kontrapunktes leisten. Damit sollen die Studien zum contrapunto alla mente aus den letzten Jahren, die neues Licht auf dieses Ph{\"a}nomen geworfen haben, um einen Bereich erweitert werden, der bis jetzt wenig Beachtung gefunden hat: die weitere Entwicklung des improvisierten Kontrapunktes in Spanien bis ins 18. Jahrhundert. Dadurch er{\"o}ffnen sich neue Perspektiven f{\"u}r das Verst{\"a}ndnis der spanischen Musikkultur des Barockzeitalters. Zu den expliziten Informationen aus den Quellen, die bereits zug{\"a}nglich gemacht worden sind, soll ein Teil des implizites Wissens hinzutreten, das in den Contrapunto-Lehren - insbesondere in den Notenbeispielen - eingefangen ist. Die vorliegende Arbeit ist also ein Versuch, dieses implizite Wissen freizusetzen. Auch wenn die tats{\"a}chlich erklungenen Improvisationen nicht konkret rekonstruierbar sind, l{\"a}sst sich die Methodik, mit der professionelle Kontrapunktisten ausgebildet wurden, anhand der Contrapunto-Lehren gut nachvollziehen. Im Kern der Dissertation steht eine vergleichende Untersuchung der Quellen, die versucht, Antworten auf eine zentrale Frage zu finden: Nach welchen Methoden und Techniken hat man in Spanien um 1700 gelernt, Kontrapunkt zu improvisieren?},
  subject      = {Kontrapunkt},
  language  = {de}
}