Conference Presentations by JK Thrussell
20TH ANNIVERSARY INTERNATIONAL CONFERENCE FROM THE SERIES MUSICA PRACTICA, MUSICA THEORETICA – ARTISTIC RESEARCH AND OTHER METHODS OF INTERPRETING MUSICAL PHENOMENA, POZNAN 2024, 2024
This research project explores the lesser-known practice of self-accompaniment on the viola da ga... more This research project explores the lesser-known practice of self-accompaniment on the viola da gamba, focusing on the practice as it was used in sixteenth and seventeenth-century Italy, particularly based on the techniques and examples shown in Sylvestro Ganassi's treatise Regola Rubertina (1542), as well as anecdotal documentation from contemporary performers of this practice, such as Tarquinia Molza (1542-1617).
This work also addresses the question of how these practices can be integrated into the present day, but also how these techniques can be adapted to the music of other regions. Namely, seventeenth- century English lute music, which was strongly influenced by the Italian style and madrigals through the transalpina phenomenon.
This scholarly discourse also includes five practical musical examples of arrangements of Italian madrigals and songs as well as English lute songs, showing the reader how to implement Ganassi's self-accompaniment practice in a clear, modern notated format. This work highlights a significant gap in knowledge regarding the practice of self-accompanied singing on the viola da gamba and provides further theoretical and practical examples that contribute to a better understanding of this practice.
This project aims to demonstrate the importance of this practice and to provide examples of why performers who focus on historically informed performance practice would benefit greatly from integrating components of this historical practice into their historically informed performance practice.
This project was submitted originally as a dissertation and performance as part of the final examination for the award of Master of Music, Künstlerische Ausbildung Alte Musik at the Hochschule für Künste Bremen in 2022.
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Research into the performance practice of eighteenth-century basso
continuo is continually develo... more Research into the performance practice of eighteenth-century basso
continuo is continually developing. In recent times there has been a greater
focus on continuo practice for bowed bass string instruments, especially in
regards to continuo cello playing. There is increasing evidence that the
practice of continuo playing on the cello was far more extensive and
complex in terms of technique and musicality than was previously thought
– that in fact the cellist much like their continuo counterparts, the
harpsichord and lute player, were also capable of and in some cases expected
to provide harmonic realisation; to play chordally on the cello.
My current research for my Masters thesis is on eighteenth-century
cellist, Johann Baptist Baumgärtner (1723-1782) and his method for the
cello, “Instructions De Musique, Théorique Et Pratique, À L'usage Du
Violoncelle,”(1774). His method is one of the few pedagogical works
specifically for the cello from this period. The most important and defining
feature of his method are his rules and explanations for playing chordally on
the cello, particularly for chordally realising the bass lines of recitatives. My
research into this method and on Baumgärtner himself led to the discovery
of other little known compositions by him. Most notably his “Extrait des airs
françois de plusieurs opéras qui ont été représentées accommodées pour deux violoncellos,”
a collection of operactic arias arranged for two cellos. This work explicitly
uses chordal cello techniques in several settings and exemplifies the rules
and practical examples presented in his method. It thus not only provides
further information on Baumgärtner as a composer but also provides
additional concrete evidence of chordal cello practice.
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"Performing History" 2017 Combined Conference of the Musicological Society of Australia and the New Zealand Musicological Society. December 8-10, Conference Centre, Faculty of Creative Arts and Industries, the University of Auckland , 2017, 2017
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Thesis Chapters by JK Thrussell
This Master's thesis investigates and evaluates the use of the practice of chordal cello accompan... more This Master's thesis investigates and evaluates the use of the practice of chordal cello accompaniment, as demonstrated in the works of Johann Baptist Baumgärtner (1723-1782). It appears that Baumgärtner’s method, Instructions de musique théorique et pratique à l’usage du violoncello, was one of the first works to try to standardise the rapid evolution of cello technique, especially concerning chordal realisation; however the purpose of this study is to question whether his other lesser known compositions, particularly his collection of duets for two cellos, Extrait des Airs François de plusieurs Operas qui ont été representées could contribute further evidence of this practice. The results of the study indicate that Baumgärtner’s compositions for the cello provide further evidence of the chordal accompaniment practices described in his method and his Extrait are an exceptional example. The analysis of the Extrait conducted as a part of this study suggest that these arrangements are explicitly notated examples of the practice and therefore establish the Extrait as rare and invaluable documentation of what otherwise appears to have been a predominantly improvised practice. Ultimately, this study demonstrates that Baumgärtner’s works are of vital importance to furthering our understanding of chordal cello practice and highlight a distinct lack of understanding concerning the significance of his output.
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Diese Dissertation befasst sich mit der weniger bekannten Praxis der Selbstbegleitung auf der Vio... more Diese Dissertation befasst sich mit der weniger bekannten Praxis der Selbstbegleitung auf der Viola da Gamba, wobei der Schwerpunkt auf der Praxis liegt, wie sie im Italien des 16. und 17. Jahrhunderts angewandt wurde, insbesondere auf der Grundlage der in Sylvestro Ganassis Traktat Regola Rubertina (1542) gezeigten Techniken und Beispiele sowie anekdotischer Dokumentation von zeitgenössischen Interpreten dieser Praxis, wie Tarquinia Molza (1542–1617).
Diese Arbeit befasst sich auch mit der Frage, wie diese Praktiken in die heutige Zeit integriert werden können,aber auch wie diese Techniken an die Musik anderer Nationalitäten angepasst werden können. Nämlich die englische Lautenmusik des 17. Jahrhunderts, die durch das Transalpina-Phänomenstark vom italienischen Stil und den Madrigalen beeinflusst wurde.
Dieser wissenschaftliche Diskurs enthält außerdem fünf praktische Musikbeispiele von Bearbeitungen italienischer Madrigale und Lieder sowie englischer Lautenlieder, die dem Leser zeigen, wie er Ganassis Informationen zur Selbstbegleitung in einem klaren, modern notierten Format umsetzen kann.
Diese Arbeit zeigt eine bedeutende Wissenslücke in Bezug auf die Praxis des selbstbegleiteten Gesangs auf der Viola da Gamba auf und liefert weitere theoretische und praktische Beispiele, die zu einem besseren Verständnis dieser Praxis beitragen.
Ziel dieses Projekts ist es, die Bedeutung dieser Praxis aufzuzeigen und anhand von Beispielen zu verdeutlichen, warum Interpreten, die sich auf eine historisch informierte Aufführungspraxis konzentrieren, von der Integration von Komponenten dieser historischen Praxis in ihre historische informierte Aufführungspraxis sehr profitieren würden.
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Conference Presentations by JK Thrussell
This work also addresses the question of how these practices can be integrated into the present day, but also how these techniques can be adapted to the music of other regions. Namely, seventeenth- century English lute music, which was strongly influenced by the Italian style and madrigals through the transalpina phenomenon.
This scholarly discourse also includes five practical musical examples of arrangements of Italian madrigals and songs as well as English lute songs, showing the reader how to implement Ganassi's self-accompaniment practice in a clear, modern notated format. This work highlights a significant gap in knowledge regarding the practice of self-accompanied singing on the viola da gamba and provides further theoretical and practical examples that contribute to a better understanding of this practice.
This project aims to demonstrate the importance of this practice and to provide examples of why performers who focus on historically informed performance practice would benefit greatly from integrating components of this historical practice into their historically informed performance practice.
This project was submitted originally as a dissertation and performance as part of the final examination for the award of Master of Music, Künstlerische Ausbildung Alte Musik at the Hochschule für Künste Bremen in 2022.
continuo is continually developing. In recent times there has been a greater
focus on continuo practice for bowed bass string instruments, especially in
regards to continuo cello playing. There is increasing evidence that the
practice of continuo playing on the cello was far more extensive and
complex in terms of technique and musicality than was previously thought
– that in fact the cellist much like their continuo counterparts, the
harpsichord and lute player, were also capable of and in some cases expected
to provide harmonic realisation; to play chordally on the cello.
My current research for my Masters thesis is on eighteenth-century
cellist, Johann Baptist Baumgärtner (1723-1782) and his method for the
cello, “Instructions De Musique, Théorique Et Pratique, À L'usage Du
Violoncelle,”(1774). His method is one of the few pedagogical works
specifically for the cello from this period. The most important and defining
feature of his method are his rules and explanations for playing chordally on
the cello, particularly for chordally realising the bass lines of recitatives. My
research into this method and on Baumgärtner himself led to the discovery
of other little known compositions by him. Most notably his “Extrait des airs
françois de plusieurs opéras qui ont été représentées accommodées pour deux violoncellos,”
a collection of operactic arias arranged for two cellos. This work explicitly
uses chordal cello techniques in several settings and exemplifies the rules
and practical examples presented in his method. It thus not only provides
further information on Baumgärtner as a composer but also provides
additional concrete evidence of chordal cello practice.
Thesis Chapters by JK Thrussell
Diese Arbeit befasst sich auch mit der Frage, wie diese Praktiken in die heutige Zeit integriert werden können,aber auch wie diese Techniken an die Musik anderer Nationalitäten angepasst werden können. Nämlich die englische Lautenmusik des 17. Jahrhunderts, die durch das Transalpina-Phänomenstark vom italienischen Stil und den Madrigalen beeinflusst wurde.
Dieser wissenschaftliche Diskurs enthält außerdem fünf praktische Musikbeispiele von Bearbeitungen italienischer Madrigale und Lieder sowie englischer Lautenlieder, die dem Leser zeigen, wie er Ganassis Informationen zur Selbstbegleitung in einem klaren, modern notierten Format umsetzen kann.
Diese Arbeit zeigt eine bedeutende Wissenslücke in Bezug auf die Praxis des selbstbegleiteten Gesangs auf der Viola da Gamba auf und liefert weitere theoretische und praktische Beispiele, die zu einem besseren Verständnis dieser Praxis beitragen.
Ziel dieses Projekts ist es, die Bedeutung dieser Praxis aufzuzeigen und anhand von Beispielen zu verdeutlichen, warum Interpreten, die sich auf eine historisch informierte Aufführungspraxis konzentrieren, von der Integration von Komponenten dieser historischen Praxis in ihre historische informierte Aufführungspraxis sehr profitieren würden.
This work also addresses the question of how these practices can be integrated into the present day, but also how these techniques can be adapted to the music of other regions. Namely, seventeenth- century English lute music, which was strongly influenced by the Italian style and madrigals through the transalpina phenomenon.
This scholarly discourse also includes five practical musical examples of arrangements of Italian madrigals and songs as well as English lute songs, showing the reader how to implement Ganassi's self-accompaniment practice in a clear, modern notated format. This work highlights a significant gap in knowledge regarding the practice of self-accompanied singing on the viola da gamba and provides further theoretical and practical examples that contribute to a better understanding of this practice.
This project aims to demonstrate the importance of this practice and to provide examples of why performers who focus on historically informed performance practice would benefit greatly from integrating components of this historical practice into their historically informed performance practice.
This project was submitted originally as a dissertation and performance as part of the final examination for the award of Master of Music, Künstlerische Ausbildung Alte Musik at the Hochschule für Künste Bremen in 2022.
continuo is continually developing. In recent times there has been a greater
focus on continuo practice for bowed bass string instruments, especially in
regards to continuo cello playing. There is increasing evidence that the
practice of continuo playing on the cello was far more extensive and
complex in terms of technique and musicality than was previously thought
– that in fact the cellist much like their continuo counterparts, the
harpsichord and lute player, were also capable of and in some cases expected
to provide harmonic realisation; to play chordally on the cello.
My current research for my Masters thesis is on eighteenth-century
cellist, Johann Baptist Baumgärtner (1723-1782) and his method for the
cello, “Instructions De Musique, Théorique Et Pratique, À L'usage Du
Violoncelle,”(1774). His method is one of the few pedagogical works
specifically for the cello from this period. The most important and defining
feature of his method are his rules and explanations for playing chordally on
the cello, particularly for chordally realising the bass lines of recitatives. My
research into this method and on Baumgärtner himself led to the discovery
of other little known compositions by him. Most notably his “Extrait des airs
françois de plusieurs opéras qui ont été représentées accommodées pour deux violoncellos,”
a collection of operactic arias arranged for two cellos. This work explicitly
uses chordal cello techniques in several settings and exemplifies the rules
and practical examples presented in his method. It thus not only provides
further information on Baumgärtner as a composer but also provides
additional concrete evidence of chordal cello practice.
Diese Arbeit befasst sich auch mit der Frage, wie diese Praktiken in die heutige Zeit integriert werden können,aber auch wie diese Techniken an die Musik anderer Nationalitäten angepasst werden können. Nämlich die englische Lautenmusik des 17. Jahrhunderts, die durch das Transalpina-Phänomenstark vom italienischen Stil und den Madrigalen beeinflusst wurde.
Dieser wissenschaftliche Diskurs enthält außerdem fünf praktische Musikbeispiele von Bearbeitungen italienischer Madrigale und Lieder sowie englischer Lautenlieder, die dem Leser zeigen, wie er Ganassis Informationen zur Selbstbegleitung in einem klaren, modern notierten Format umsetzen kann.
Diese Arbeit zeigt eine bedeutende Wissenslücke in Bezug auf die Praxis des selbstbegleiteten Gesangs auf der Viola da Gamba auf und liefert weitere theoretische und praktische Beispiele, die zu einem besseren Verständnis dieser Praxis beitragen.
Ziel dieses Projekts ist es, die Bedeutung dieser Praxis aufzuzeigen und anhand von Beispielen zu verdeutlichen, warum Interpreten, die sich auf eine historisch informierte Aufführungspraxis konzentrieren, von der Integration von Komponenten dieser historischen Praxis in ihre historische informierte Aufführungspraxis sehr profitieren würden.