{"id":326,"date":"2015-02-04T20:24:35","date_gmt":"2015-02-04T18:24:35","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?page_id=326"},"modified":"2021-12-06T20:31:39","modified_gmt":"2021-12-06T18:31:39","slug":"the-relation-between-the-fixed-and-non-fixed-musical-texts-in-the-italian-baroque-vocal-music-theory-and-performance-practice","status":"publish","type":"page","link":"https:\/\/harps.lmta.lt\/en\/artistic-doctorate\/completed-artistic-projects\/the-relation-between-the-fixed-and-non-fixed-musical-texts-in-the-italian-baroque-vocal-music-theory-and-performance-practice\/","title":{"rendered":"The Relation between the Fixed and Non-Fixed Musical Texts in the Italian Baroque Vocal Music: Theory and Performance Practice"},"content":{"rendered":"

Doctoral student: R\u016bta Vosyli\u016bt\u0117
\nSupervisors: Prof. Sigut\u0117 Stonyt\u0117, Prof. Dr. (hp) Gra\u017eina Daunoravi\u010dien\u0117
\nDepartment: Singing
\nIntended duration: 2014\u20132018<\/p>\n

Abstract<\/strong><\/p>\n

\"R\u016bta<\/a>

R\u016bta Vosyli\u016bt\u0117<\/p><\/div>\n

The subject of R\u016bta Vosyli\u016bt\u0117’s artistic research paper \u201cThe relation between the fixed and non-fixed musical texts in the Italian baroque vocal music: theory and performance practice\u201d reveals the phenomenon of partially or incompletely notographically fixed musical text in baroque music. The paper relies upon modern 20th-century research into the science of textology, which brings out a new approach to text \u2013 as notography which is recorded with signs\u00a0and the acoustic form of music. The author\u00a0seeks to systematise and offer a relevant interpretation of the technical instructions of fixed and non-fixed musical texts of Italian baroque, to reveal\u00a0and give a sense to the correlations of vocal technique with the conditionality of the verbal text, the theory of affects and rhetoric situations as well as\u00a0to provide a critical account of the traditions of improvisational art established by the authors of theories on baroque performance practice and performers\/virtuosos from the point of view of the evolution of vocal technique.\u00a0The aim of the present research is to reveal the specificity of the vocal technique of Italian baroque based on both historical studies of sources of the baroque vocal technique and the artistic research. This could enable the adequate \u2018reading\u2019 of the scores from that period and give rise to an authentic interpretation of a piece. The important practical interaction of musicological and artistic research results in a theoretically grounded mastering of the practice of improvised vocal techniques of Italian baroque and stylish performance of the vocal music by the Italian composers of the 17th and 18th centuries (Ignazio Donati, Sigismondo D\u2019India, Alessandro Stradella, Giovanni Bononcini, Niccolo Jommelli).<\/p>\n","protected":false},"excerpt":{"rendered":"

Doctoral student: R\u016bta Vosyli\u016bt\u0117 Supervisors: Prof. Sigut\u0117 Stonyt\u0117, Prof. Dr. (hp) Gra\u017eina Daunoravi\u010dien\u0117 Department: Singing Intended duration: 2014\u20132018 Abstract The subject of R\u016bta Vosyli\u016bt\u0117’s artistic research paper \u201cThe relation between the fixed and non-fixed musical texts in the Italian baroque vocal music: theory and performance practice\u201d reveals the phenomenon of partially or incompletely notographically fixed […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":29,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"template-doct-music-completed.php","meta":{"footnotes":""},"class_list":["post-326","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\t\n\t\t