Keyboard idioms in the suites of Handel and his British contemporaries, 1710--1740.
Item
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Title
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Keyboard idioms in the suites of Handel and his British contemporaries, 1710--1740.
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Identifier
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AAI3340211
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identifier
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3340211
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Creator
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Lee, So-Young.
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Contributor
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Adviser: L. Poundie Burstein
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Date
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2008
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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The harpsichord suites of George Frideric Handel (1685-1759) and his British contemporaries, including William Babell (c.1690-1723), Thomas Chilcot (1700-1766), Richard Jones (b.? -1744), Thomas Roseingrave (1690-1766), and John Christopher Smith (1712-1795), demonstrate a rich array of keyboard idioms, that is, techniques that are characteristic to keyboard music. These keyboard idioms include various devices utilizing scales, broken chords and their derivatives, broken intervals, chords, repeated notes, and specific intervals.;Some of these idioms involve techniques specifically characteristic of suites, as well as those more commonly associated with other genres such as the sonata, toccata, fantasia, and chaconne. A number of these idioms further relate to techniques associated with improvisation, virtuosity, and the fugue. The blending of these techniques in these suites thereby synthesizes a range of keyboard techniques of the late Baroque period.;The idioms found in the present suites incorporate various techniques that are also found in keyboard works of continental composers. Nevertheless, certain facets of the keyboard techniques (e.g., improvisatory aspects, required level of virtuosity, unusual fugues, unusual concluding movements, and irregular tonal schemes) distinguish the works of these British composers. Examining these keyboard idioms found in the suites of Handel and his British contemporaries within their cultural and historical context can also shed much light on this repertoire.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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D.M.A.
