Evolution of the solo violin concept throughout the 17th and 18th centuries and the interchangeability of treble instruments in works for baroque violin and transverse flute

dc.contributor.advisorMuresanu, Irinaen_US
dc.contributor.authorBorodeckis, Jakovsen_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2023-06-26T05:40:19Z
dc.date.available2023-06-26T05:40:19Z
dc.date.issued2023en_US
dc.description.abstractThis dissertation reviews the compositional forms in selected Baroque violin and flute music of Italian, Austrian and German composers Pandolfi-Mealli, Lonati, Viviani, Albinoni, Schmelzer, Mayr, Westhoff, Bach, and Telemann. Their works include sonatas for solo violin with basso continuo accompaniment, da chiesa sonatas for violin and organ, and unaccompanied solo violin and solo flute suites, partitas, and fantasias. The works for solo flute are observed in the context of the interchangeability of the treble instruments. Analysis of the compositional forms in the 17th century allows us to trace the progression of the solo violin concept, which was not yet clearly defined at the time. The prospect of the interchangeability of treble instruments is applied to the 18th-century dance suite cycle for a violin/flute without bass, tested in a practical application on the recording that supplements the dissertation. My argument is based on a thorough study of the violin idiom’s development and the rhetorical principles of the Baroque era: descriptive notation, doctrine of affects, figuration, and phrasing. The historical context is supported in the reflection on the evolution of sonata genre: its use, function, and structure in the early-, mid-, and high Baroque. The last segment of the dissertation, Repertoire Analysis, showcases the perception of the music of the full Baroque spectrum (17th-18th centuries), both from the performer’s as well as the listener’s side, and is based on my live-recital and studio recording of the accompanied and unaccompanied works for violin and flute.en_US
dc.identifierhttps://doi.org/10.13016/dspace/8pnf-2svk
dc.identifier.urihttp://hdl.handle.net/1903/30196
dc.language.isoenen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledaccompanied soloen_US
dc.subject.pquncontrolledbaroque violinen_US
dc.subject.pquncontrolledinterchangeabilityen_US
dc.subject.pquncontrolledrhetorical musicen_US
dc.subject.pquncontrolledsolo violinen_US
dc.subject.pquncontrolledviolin and fluteen_US
dc.titleEvolution of the solo violin concept throughout the 17th and 18th centuries and the interchangeability of treble instruments in works for baroque violin and transverse fluteen_US
dc.typeDissertationen_US

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