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The Implementation of Lombardic Rhythm Inégalité
The Implementation of Lombardic Rhythm Inégalité
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260311091536.5
- ISBN
- 9798293820450
- DDC
- 781
- 서명/저자
- The Implementation of Lombardic Rhythm Inégalité / Matthew Wilkinson
- 발행사항
- [Sl] : University of North Texas, 2025
- 형태사항
- 1 electronic resource (138 pages)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-03, Section: A.
- 주기사항
- Advisors: Harlos, Steven C. Committee members: Eschbach, Jesse; Hightower, Allen; Bard-Schwarz, David.
- 학위논문주기
- - Ph.D. : University of North Texas, 2025.
- 초록/해제
- 요약Although it is well-established that the implementation of rhythmic inegalité was the modus operandi in keyboard music of the French Classical period (1655-1770), that "long-short" inegalité existed on a continuum from doubly-dotted to triplet rhythm, and that Lombardic rhythm ("short-long") inegalité was also utilized, modern performance practice has been seemingly hesitant to introduce Lombardic rhythm inegalité as normative. One can scarcely find any professional recordings of the French Classical organ repertoire that interpret any given concatenation of notes as Lombardic, while the application of "long-short" inegalité is seemingly ubiquitous. One potential cause behind this disparity lies in the fact that Lombardic rhythm inegalité was indeed used less frequently than the other kind. Furthermore, just as few examples exist within the French Classical repertoire of clearly indicated inegalité, so too are there even fewer illustrations of Lombardic rhythm. Nonetheless, this paucity of examples by no means indicates a complete absence of such. One composer, Nicolas Gigault (1627-1707), transcribed the majority of his corpus with clearly delineated inegalité of both varieties. Daniel Sherman Pyle has demonstrated the efficacy of Gigault's organ works as a paragon for the emulation of inegalité. While other composers did not write with the same degree of exactitude as Gigault, a thorough examination of the instances that they nonetheless did transcribe Lombardic rhythms can provide a similar standard from which to draw a more informed performance practice. Furthermore, while any given ornament could have hypothetically been applied to a variety of places within any early keyboard repertoire, any explicit indication of ornamentation nonetheless underscores a certain extra degree of intentionality on behalf of the composer. Therefore, while any given Lombardic rhythm ornamentation may not by itself indicate the frequency with which such an ornament might have been implemented (and alternatively the absence of such express indications in other repertoire do not disallow or even adumbrate the potential absence of such ornamentation), nonetheless any given pattern of Lombardic rhythm ornamentation must at least indicate a plausible scenario from which other potential opportunities for this type of ornamentation could be inferred. To this end, a thorough examination of not only French Classical repertoire, but also Italian, English, and German repertoire for the occurrence of Lombardic rhythms can elucidate a variety of parameters for which the implementation of Lombardic rhythm inegalité is appropriate. Therefore, the aim of this project is to examine a wide variety of keyboard repertoire of the 17th-18th centuries and extrapolate from those examples this set of parameters.
- 언어주기
- English
- 일반주제명
- Musical composition
- 일반주제명
- Music history
- 일반주제명
- Music theory
- 키워드
- Inègalité
- 키워드
- Scotch Snap
- 키워드
- Notes inégales
- 기타저자
- University of North Texas Division of Keyboard Studies
- 기본자료저록
- Dissertations Abstracts International. 87-03A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■020 ▼a9798293820450
■040 ▼aMiAaPQD▼beng▼cMiAaPQD▼erda
■082 ▼a781
■1001 ▼aWilkinson, Matthew▼eauthor.
■24510▼aThe Implementation of Lombardic Rhythm Inégalité ▼cMatthew Wilkinson
■260 ▼a[Sl]▼bUniversity of North Texas▼c2025
■264 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a1 electronic resource (138 pages)
■336 ▼atext▼btxt▼2rdacontent
■337 ▼acomputer▼bc▼2rdamedia
■338 ▼aonline resource▼bcr▼2rdacarrier
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-03, Section: A.
■500 ▼aAdvisors: Harlos, Steven C. Committee members: Eschbach, Jesse; Hightower, Allen; Bard-Schwarz, David.
■5021 ▼bPh.D.▼cUniversity of North Texas▼d2025.
■520 ▼aAlthough it is well-established that the implementation of rhythmic inegalité was the modus operandi in keyboard music of the French Classical period (1655-1770), that "long-short" inegalité existed on a continuum from doubly-dotted to triplet rhythm, and that Lombardic rhythm ("short-long") inegalité was also utilized, modern performance practice has been seemingly hesitant to introduce Lombardic rhythm inegalité as normative. One can scarcely find any professional recordings of the French Classical organ repertoire that interpret any given concatenation of notes as Lombardic, while the application of "long-short" inegalité is seemingly ubiquitous. One potential cause behind this disparity lies in the fact that Lombardic rhythm inegalité was indeed used less frequently than the other kind. Furthermore, just as few examples exist within the French Classical repertoire of clearly indicated inegalité, so too are there even fewer illustrations of Lombardic rhythm. Nonetheless, this paucity of examples by no means indicates a complete absence of such. One composer, Nicolas Gigault (1627-1707), transcribed the majority of his corpus with clearly delineated inegalité of both varieties. Daniel Sherman Pyle has demonstrated the efficacy of Gigault's organ works as a paragon for the emulation of inegalité. While other composers did not write with the same degree of exactitude as Gigault, a thorough examination of the instances that they nonetheless did transcribe Lombardic rhythms can provide a similar standard from which to draw a more informed performance practice. Furthermore, while any given ornament could have hypothetically been applied to a variety of places within any early keyboard repertoire, any explicit indication of ornamentation nonetheless underscores a certain extra degree of intentionality on behalf of the composer. Therefore, while any given Lombardic rhythm ornamentation may not by itself indicate the frequency with which such an ornament might have been implemented (and alternatively the absence of such express indications in other repertoire do not disallow or even adumbrate the potential absence of such ornamentation), nonetheless any given pattern of Lombardic rhythm ornamentation must at least indicate a plausible scenario from which other potential opportunities for this type of ornamentation could be inferred. To this end, a thorough examination of not only French Classical repertoire, but also Italian, English, and German repertoire for the occurrence of Lombardic rhythms can elucidate a variety of parameters for which the implementation of Lombardic rhythm inegalité is appropriate. Therefore, the aim of this project is to examine a wide variety of keyboard repertoire of the 17th-18th centuries and extrapolate from those examples this set of parameters.
■546 ▼aEnglish
■590 ▼aSchool code: 0158
■650 4▼aMusical composition
■650 4▼aMusic history
■650 4▼aMusic theory
■653 ▼aLombardic rhythms
■653 ▼aInègalité
■653 ▼aFrench Classical repertoire
■653 ▼aKeyboard repertoire
■653 ▼aScotch Snap
■653 ▼aNotes inégales
■7102 ▼aUniversity of North Texas▼bDivision of Keyboard Studies.▼edegree granting institution.
■7201 ▼aHarlos, Steven C.▼edegree supervisor.
■7730 ▼tDissertations Abstracts International▼g87-03A.
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17360216▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
