Type of Document Thesis Author Parr, Sean M. URN etd-11172003-033041 Title Musical Fire: Literal and Figurative Moments of "Fire" as Expressed in Western Art Music from 1700 to 1750 Degree Master of Music Department Music, School of Advisory Committee
Advisor Name Title Charles E. Brewer Committee Chair Jeffery Kite-Powell Committee Member Roy Delp Committee Member Keywords
- Rage Aria
- Stile Concitato
- Word Painting
- Text Painting
Date of Defense 2003-08-20 Availability unrestricted AbstractThis thesis will describe the quality of musical
fire and how the representation of fire in music
began and progressed during the Baroque period.
In addition to hearing beautiful sonorities,
experiencing a visceral thrill is one of the basic
aesthetics that makes music such an affecting art
in Western culture. For the purposes of this
thesis, I will define a "musical fire moment" as a
musical passage in which the composer's language
elicits the quality of some fiery context. These
contexts will be defined in this thesis. In
music of the Baroque period, I consider fire to be
an affect which is utilized by composers to
attain moments of heightened, fire-like intensity.
There are certain musical works which have texts,
characters, or titles including the actual word,
"fire," or related words, such as "burn,"
"flame," etc. Composers set such words in
different ways in attempting to reflect the
appropriate dramatic meaning or emotion musically.
These techniques usually yield feelings of
excitement, heightened intensity, and/or agitation
in the listener.
Clearly, such feelings are not limited to vocal
music. Purely instrumental music can and does
similarly affect listeners. However, these
instrumental fiery moments are not as immediately
evident without the word cues of fiery moments in
vocal music. Nevertheless, one can certainly feel
moments of musical "fire" in high intensity moments
in pieces such as the "Summer" concerto of
Vivaldi's Four Seasons.
The origins of the musical expression of fire lie
in the stile concitato of Monteverdi and the
generally rhetorical approach to the expression
of passion in music during the Baroque period.
Early representations of fire represented in music
show that a key fire-like word was more often
painted by itself rather than presented as an
affect lasting for an entire section of a piece.
By the late Baroque, fire is presented more
affectively, in complete sections, movements, and
entire arias. This thesis will propose a
framework which will serve to categorize musical
examples of fiery affect.
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28.8 Modem 56K Modem ISDN (64 Kb) ISDN (128 Kb) Higher-speed Access 01_smp_prelims.pdf 86.15 Kb 00:00:23 00:00:12 00:00:10 00:00:05 < 00:00:01 02_smp_fire1.pdf 266.20 Kb 00:01:13 00:00:38 00:00:33 00:00:16 00:00:01 03_smp_fire2.pdf 842.22 Kb 00:03:53 00:02:00 00:01:45 00:00:52 00:00:04 04_smp_fire3.pdf 1.59 Mb 00:07:22 00:03:47 00:03:18 00:01:39 00:00:08 05_smp_fire4.pdf 1.76 Mb 00:08:10 00:04:12 00:03:40 00:01:50 00:00:09 06_smp_fire5.pdf 307.70 Kb 00:01:25 00:00:43 00:00:38 00:00:19 00:00:01