Woodwind examples for the Franz Beyer completion of Mozart's Requiem, K.626 are on pages 37, 41, 45, 48, 51, 59, 60, and 63. Woodwind examples for the Richard Maunder completion of Mozart's Requiem, K.626 are on pages 67-69, 72, 73, 82 and 89. Woodwind examples for the H.C. Robbins Landon completion of Mozart's Requiem, K.626 are on pages 98 and 111. Woodwind examples for the Duncan Druce completion of Mozart's Requiem, K.626 are on pages 116-118, 122, 125-127, 129, 137, 138, 141, and 154. Woodwind examples for the Robert Levin completion of Mozart's Requiem, K.626 are on pages 158-160, 163, 165, 167, 176, 186, 190, and 170. String examples for the Franz Beyer completion of Mozart's Requiem, K.626 are on pages 39, 40, 42, 43-47, 50, 52-54, 58, 59, 61, 62, and 64. String examples for the Richard Maunder completion of Mozart's Requiem, K.626 are on pages 68, 70-72, 74-76, 78, 80, 81, 83, 90, 92, and 94. String examples for the H.C. Robbins Landon completion of Mozart's Requiem, K.626 are on pages 101-106, and 108-111. String examples for the Duncan Druce completion of Mozart's Requiem, K.626 are on pages 120, 121, 123, 124, 126-128, 130, 131, 136, 139, 140, 141, 147, and 155. String examples for the Robert Levin completion of Mozart's Requiem, K.626 are on pages 161, 162, 164-166, 169, 174, 177, 179, 181, 187, 188, and 191. Choral examples for the Franz Beyer completion of Mozart's Requiem, K.626 are on pages 42, 43, 49, and 56. Choral examples for the Richard Maunder completion of Mozart's Requiem, K.626 are on pages 84, 85, 87, 88, 93, and 95. There are no choral examples for the H.C. Robbins Landon completion of Mozart's Requiem, K.626. Choral examples for the Duncan Druce completion of Mozart's Requiem, K.626 are on pages 132, 134, 143, 144, 145 and 152. Choral examples for the Robert Levin completion of Mozart's Requiem, K.626 are on pages 171, 173, 175, 180, 184, 189, and 190. Trumpet and timpani examples for the Franz Beyer completion of Mozart's Requiem, K.626 are on pages 38 and 57. Trumpet and timpani examples for the Richard Maunder completion of Mozart's Requiem, K.626 are on pages 69 and 77. Trumpet and timpani examples for the H.C. Robbins Landon completion of Mozart's Requiem, K.626 are on pages 99, 100 and 112. Trumpet and timpani examples for the Duncan Druce completion of Mozart's Requiem, K.626 are on pages 117, 119, 136, 146, and 154. Trumpet and timpani examples for the Robert Levin completion of Mozart's Requiem, K.626 are on pages 159, 160, and 181.
(requiem, 2019)
The following basics of pronunciation of French-Latin vowels are specifically intended for the specific vocal examples from Charpentier's "Messe pour Monsieur Mauroy" (circa 1690) on pages 13, 19, 21, 22, 24, 28, 30, 31, 34, 35, 38, 46-49, 50, 51, 53, 54, 56, 58, 60, 61-65, 68, 69, 70-72, 74-81, 83, 85, 86, 88-97, 103, 104, 109, 110, 112, 116-122, 137, 138, 140-154, 166-179, and 181-184 in Korre D. Foster's "Marc-Antoine Charpentier's Messe pour Monsieur Mauroy." The vowel ‘a’ is the bright [a] as opposed to the dark [ɑ] as in ‘father’ (Foster, p.130, 2009). The ‘n’ makes the vowel nasal, but, unlike modern French, the ‘n’ may still be pronounced (Foster, p.130, 2009). In order to properly represent the ‘e’ in the International Phonetic Alphabet, one must first divide the Latin word into syllables (Foster, p.131, 2009). If we take the word ‘miserere’ and divide it into syllables, we create mi/se/re/re (Foster, p.131, 2009). The vowel ‘i’ is identical to modern French and the standard Latin pronunciation of [i] (Foster, p.131, 2009). Most often a single ‘o’ found in a Latin word is pronounced open ‘o’ [ɔ] (Foster, p.132, 2009). The ‘um’ vowel-consonant combination also produced an open ‘o’ [ɔ] in this time period (Foster, p.132, 2009). The open ‘o’ vowel is seen in many French words, an example is the word notre (Foster, p.132, 2009). The French combination ‘au’ which produces [o] is thus pronounced the same in French-Latin (Foster, p.132, 2009). The ‘o’ is nasalized in at least two ways (Foster, p.132, 2009). The first is congruent with the modern French counterpart, the ‘o’ followed by a ‘n’ in the same syllable. This is seen in the French word non [nõ] (Foster, p.132, 2009). The second is the ‘un’ vowel-consonant combination (Foster, p.132, 2009). Notice the similarity between the second Latin example and the modern French word monde [mõd] (Foster, p.132, 2009). Throughout time commentators often wrote about the French pronunciation of the letter ‘u’ (Foster, p.133, 2009). It was documented several times that the French did not sing [u] like the Italians, but rather [y] as in the French tu (Foster, p.133, 2009).
(mass [in g minor], 2019)
In Figure 2.6 on page 51 in Ioanida Costache’s “Das Lied von der Erde: Mahler’s Musical Ontology” (2012), the Visual representation of arch form in "Von der Jugend" is emphasized with a green underline under the letters "B" and "A". In Example 4.10 on page 94 in Ioanida Costache’s “Das Lied von der Erde: Mahler’s Musical Ontology” (2012), the “Stop” in the interlude at RH40 is marked by a red line, the Lyrical material is inside a green-lined rectangle, and the march material is inside a blue-lined rectangle. On page 101 in Ioanida Costache’s “Das Lied von der Erde: Mahler’s Musical Ontology” (2012), the Transcendent moment in RH47, "Ewigkeitmotif" appears twice inside two blue-lined rectangles. In Figure 4.2 on page 103 in Ioanida Costache’s “Das Lied von der Erde: Mahler’s Musical Ontology” (2012), a graph of melodic contour (for the phrase “The earth blooms in spring and becomes green anew! Everywhere and forever…”) is visualized with a red line. On page 104 in Ioanida Costache’s “Das Lied von der Erde: Mahler’s Musical Ontology” (2012), Figure 4.2 continues with a graph of melodic contour (for the phrase “The distances brighter blue, ewig…” that is visualized with a blue line.
(orchestral song cycle [for tenor and alto], 2019)
There are 59 Figures (utilized in Susan L. Rice’s “Mozart's Late Liturgical Compositional Method: The Mass in C minor, K. 427 and the Mass Movement Fragments, 1779-1791” [2011]) on pages 46, 48-50, 56-60, 64, 70-73, 77, 83-85, 90, 91, 93, 94, 108, 110, 115, 116, 125, 126, 128, 134-136, 143, 149, 161, 162, 164, 165, 169-173, 194, and 198 that are sourced from scanned autograph facsimiles of the fragmentary ‘Kyrie’ K. Anh. 12, ‘Sanctus’ K6 296c, ‘Mass in C minor’ K. 427, four incomplete ‘Kyrie’ settings (K. Anh. 16 in G major, K. Anh 14 in D major, K. Anh. 13 in C Major and K. Anh. 15 in C major); and the ‘Gloria’ in C major, K. Anh. 20. Another 26 Figures on pages 42, 62, 66, 79, 88, 105, 106, 112, 121, 122, 130, 131, 139, 146, 152, 153, 155, and 163 are typeset reconstructions of said autograph fragments produced by Susan L. Rice using “Sibelius scorewriter software” (Rice, 2011, p.235). Typeset reconstructions of the complete fragments (except K.427) are on pages 235-275 and are also produced by Susan L. Rice using “Sibelius scorewriter software” (Rice, 2011, p.235). The complete autograph fragments (scanned and excerpted from the “Neue Ausgabe sämtlicher Werke”) are on pages 275-298 (notes and figures not in Mozart’s hand are partially obscured by means of a semi-transparent overlay).
(mass [in c minor], 2018)
Fig.7 shows a comparison of settings by Zollner and Schubert in Wilhelm Muller's "Das Wandern," the first measure of Fig.7 is printed on p.139, the last measure of Fig.7 is printed on p.202 (each measure of Fig.7 is separated by two blank pages)
(song cycle, 2015)
The music domain is made of many different classes whose objects finally influence the performance. As a first approach, our music model distinguishes the following classes: Instrument, Generator, Note and Score. It is important to note that Van Buskirk’s music model is object-oriented and not “event-oriented.” Schiller calls an object sublime when it threatens to exceed our sensuous capacity to grasp it or resist it, without completely defeating our efforts at cognition or resistance, so that our mind is able to sustain its own self-subsisting power and dignity at a higher level. There are two types of the sublime, the sublime of cognition and the sublime of force. The sublime of cognition is based on number or magnitude, and can thus be called the Mathematical-Sublime as well.
In a 1793 text called On the Sublime (Vom Erhabenen), Schiller argues that the mathematical sublime ought to be labeled the theoretical sublime. Most contemporary theorists feel uncomfortable about ascribing significance to inaudible relationships to music; we tend to assume that there should be some meaningful relationship between analysis and auditory experience. Now consider that any entity in a music system is a “thought-object.” A music object cannot sound or be heard unless it is somehow converted into a thought-object. In order to generate a particular music object usually several thought-objects have to interact and finally undergo a synthesis process.
FREE PDF
In a 1793 text called On the Sublime (Vom Erhabenen), Schiller argues that the mathematical sublime ought to be labeled the theoretical sublime. Most contemporary theorists feel uncomfortable about ascribing significance to inaudible relationships to music; we tend to assume that there should be some meaningful relationship between analysis and auditory experience. Now consider that any entity in a music system is a “thought-object.” A music object cannot sound or be heard unless it is somehow converted into a thought-object. In order to generate a particular music object usually several thought-objects have to interact and finally undergo a synthesis process.
FREE PDF