Identifier

etd-01192015-055258

Degree

Doctor of Musical Arts (DMA)

Department

Music

Document Type

Dissertation

Abstract

ABSTRACT This study clarifies historical evidence as applied to Italian baroque performance practices and repertoire for trumpet and pipe organ, circa 1630. It focuses upon a specific concert; the first historical record of a trumpet and pipe organ duo performing whereby the trumpeter takes a soloistic role. The details surrounding the performance, one involving trumpeter Girolamo Fantini and organist Girolamo Frescobaldi, make wonderful fodder for a more detailed musical look into 17th century Italy. Perhaps most importantly, the process outlined here can be modified and used in the study of music from virtually any genre from any musical period. Ultimately, it is my hope that the details surrounding this historic concert can be leveraged in the service of forming a more consistent intention as applied to the study and live performance of ancient music. In the larger trumpet community, Baroque music of nearly any nationality has often been performed with a loose set of guidelines regarding the various facets of performance: articulation, phrasing, dynamics, and so forth. My process takes into account organology, acoustics, historical information gleaned from the Vatican Library, and architectural factors based upon site visits in Rome. This document is composed of five (5) major sections: 1) the roles and typologies of trumpets in Italy in the early 17th century; 2) the typologies of pipe organs in Italy in the early 17th century with special emphasis given to the unique approach to tonal design in the Baroque Italian organ; 3) historical details uncovered through research in the USA and Rome which paint a clearer picture of where the famed concert might have taken place, and at whose behest; 4) acoustical and architectural details of the historic spaces potentially utilized in Fantini’s and Frescobaldi’s fabled concert; and 5) insights into further directions for research including the integration of sampling, sequencing, recording technologies, and digital acoustic simulation into the study of ancient – and potentially all – music.

Date

2014

Document Availability at the Time of Submission

Release the entire work immediately for access worldwide.

Committee Chair

Shaw, Brian

DOI

10.31390/gradschool_dissertations.3655

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