I then examine, in turn, the range of melodic (Chapter 2), bass (Chapter 3), rhythmic (Chapter 4), and harmonic-rhythmic and textural functions (Chapter 5) assigned to the viola. The first musicology study to focus on scoring and texture in the music of Vivaldi and his contemporaries, my dissertation presents vocabulary and theoretical models that make it possible to analyze the various roles fulfilled by the viola in a piece of ensemble music, and the complex ways in which these aspects of scoring and orchestration interact with one another.Īfter highlighting problematic assumptions in existing historiographies of orchestration and eighteenth-century music, I identify Vivaldi's earlier works - those written prior to the beginning of his employment at the court of Mantua in spring, 1718 - as a focal point for demonstrating the variety of ways Vivaldi uses the viola to achieve effects that might otherwise require a larger number of ensemble parts (Chapter 1). Using Vivaldi's music as a case study, my research provides a fundamentally new approach to understanding the co-existence of multiple textural models in late Baroque music, exploring hitherto-overlooked continuities between textures and orchestrations in early and late eighteenth-century music. This dissertation examines Vivaldi's use of the viola as a flexible orchestra resource, revealing the composer's varied strategies for achieving striking contrasts of texture and sonority in his work. The Viola as a Secret Weapon in Antonio Vivaldi's Orchestral Revolution: Sonority and Texture in Late Baroque Italian Music Please use this identifier to cite or link to this item: Princeton University Undergraduate Senior Theses, 1924-2022
Princeton University Masters Theses, 2022-2023
Princeton University Doctoral Dissertations, 2011-2023 Princeton School of Public and International Affairs
Liechtenstein Institute on Self-Determination Lewis-Sigler Institute for Integrative Genomics Department of Slavic Languages and Literatures
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