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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.
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.
Die hier vorliegende Arbeit beschäftigt sich mit dem Thema Hörspiel und der Fragestellung, wie die Technik diese Kunstform beeinflusst hat. Um dies zu untersuchen, wurden verschiedene Hörspiele aus den unterschiedlichsten Bereichen herangezogen und unter drei wesentlichen Aspekten untersucht: 1.) „Der Hörer und das Hörspiel“: Dieser Bereich umfasst eine Darstellung der Zusammenhänge des Hören und Wahrnehmens eines Hörspiels durch den Hörer und die Beeinflussung der Wiedergabe entsprechender Schallvorgänge im Raum des Hörers durch technische und räumliche Aspekte. 2.) „Primär-formative Prozesse“: Innerhalb dieser Kapitel wurde die Beeinflussung der originären Schallereignisse durch den Vorgang der Aufnahme und die dabei stattfindenden Prozesse untersucht. Die wesentlichen und berücksichtigten, die Schallaufnahme beeinflussenden Parameter waren hierbei das Hörspielstudio „im Ganzen“, die Schallwandlung im technischen Sinne, der Einfluss der Stereofonie auf das Hörspiel sowie verschiedene daraus resultierende Formen der Inszenierungen. 3.) „Sekundär-formative Prozesse“: In diesem Bereich wurden gestaltende Prozesse erfasst und untersucht, die die aufgenommenen Schallereignisse beeinflussen und/oder zu gänzlich neuen Klangkonstrukten formen. Dies reicht vom Schnitt oder der Blende bis hin zu komplexen Modifikationen mit einer Vielzahl von radiofonen Effekten.
Die Analysen der einzelnen Hörspiele fanden dabei nicht nur aus technischer Sicht statt, sondern standen stets in einem engen Zusammenhang mit den dramaturgischen Vorgängen des entsprechenden Werkes. Darüber hinaus wurden aktuelle Produktionsaspekte für ein Hörspiel berücksichtigt, die zugleich in die Diskussion mit entsprechender Literatur gestellt wurden.
Zusammengefasst hat sich gezeigt, dass das Hörspiel eine Kunstform ist, die permanent durch die Technik beeinflusst wurde und wird. Der Zusammenhang zwischen Technik und auditiver Kunstform hat eigene dramaturgische Formen hervorgebracht, die das Hörspiel vor allem als eine eigenständige, von anderen Fachdisziplinen losgelöste Gattung definiert und im Umkehrschluss verschiedenste Fachbereiche für sich beansprucht.