http://hdl.handle.net/1842/1543 A community for the School of Arts, Culture and Environment, 2013-05-23T16:12:53Z http://hdl.handle.net/1842/6534 Title: Clavichords of Hieronymus and Johann Haas Authors: Whitehead, Lance. Abstract: The twenty- five surviving signed clavichords by the Hamburg makers Hieronymus and Johann Hass, covering a period of approximately forty years from 1728 to 1767, represent one of the pinnacles of musical instrument manufacture. From a study of twenty-two of these instruments a number of important clavichord design principles and constructional techniques has been determined. For instance it was found that the construction of the case joints, rack and 8ft bridge were undertaken with the aid of a template, whilst the bridge pins, tuning pins and hitchpins were positioned using a calibrated stick held perpendicular to the spine. By plotting the pin positions it has been possible to determine the method used by Hass (father and son) to space the pins in various multiples of the Hamburg Zoll or inch. Thanks to the family's habit of dating their instruments the evolution of their working methods can be discerned; in general the dimensions of the later instruments of both makers are greater than those of the earlier instruments, but remain in the same proportion. Bridge shape, rack-slot spacing and pin positioning also vary from Instrument to instrument, not because of any haphazard approach to construction but rather as the result of an intentional modification and evolution of clavichord design during the making of a large number of instruments. This research has enabled a positive identification of a clavichord in Koping, Sweden, (where the signature and date are no longer legible) as being the work of Hieronymus Hass. The techniques developed for this study can be used in the investigation of other clavichord builders and their work. 1994-01-01T00:00:00Z http://hdl.handle.net/1842/5973 Title: Interpretive electronic music systems: a portfolio of compositions Authors: Rawlinson, Julian Dean Abstract: A portfolio of electronic music compositions employing adaptable controllers, graphic notation, and custom software performance environments. The portfolio is comprised of scores, recordings, and supporting software and audio files for the following: Short Circuit; Sample & Hold; Mute | Solo; NCTRN; Radio | Silence; and Please use the tramps provided. Supplementary files include alternative audio and video recordings of some of the works listed above, additional software documentation, and a video recording of a structured improvisation featuring the controllers and software used in this portfolio. 2011-11-23T00:00:00Z http://hdl.handle.net/1842/5970 Title: Portfolio of compositions and scholarly edition Authors: Caponnetto, Alfredo Abstract: A. SCHOLARLY EDITION 1. Zoilo Annibale, Ave Regina a Quattro Chori, ed. by Caponnetto A. and O’Regan N. in Caponnetto A. Ph.D. dissertation, item 2‐ Scholarly Edition, University of Edinburgh, 2011. B. PORTFOLIO OF COMPOSITIONS 1. Caponnetto Alfredo, Ave Regina, for eight solo voices or choir and organ, in Caponnetto A. Ph.D. dissertation, item 1, University of Edinburgh, 2011. 2. Caponnetto Alfredo, Dialectic of the Many and the One: Protagoras‐Parmenides‐Gorgias, for piano quintet, in Caponnetto A. Ph.D. dissertation, item 3, University of Edinburgh, 2011. 3. Caponnetto Alfredo, Konzertstück, for piano and orchestra (2009 version), in Caponnetto A. Ph.D. dissertation, item 4, University of Edinburgh, 2011. 4. Caponnetto Alfredo, Meno, quintet, in Caponnetto A. Ph.D. dissertation, item 5, University of Edinburgh, 2011. 5. Caponnetto Alfredo, Phaedrus: Phaedrus’ Speech and Socrates’ Speech, for symphony orchestra, in Caponnetto A. Ph.D. dissertation, item 6, University of Edinburgh, 2011. 6. Caponnetto Alfredo, Symposium I, for xylophone, trombone, oboe and perc., in Caponnetto A. Ph.D. dissertation, item 7, University of Edinburgh, 2011. 7. Caponnetto Alfredo, Symposium II, for soprano and string quartet in Caponnetto A. Ph.D. dissertation, item 8, University of Edinburgh, 2011. 8. Caponnetto Alfredo, The Apology of Socrates, opera‐oratorio, in Caponnetto A. Ph.D. dissertation, item 9, University of Edinburgh, 2011. 2011-11-23T00:00:00Z http://hdl.handle.net/1842/5966 Title: Sing a new song: English and Scottish metrical psalmody from 1549‐1640 Authors: Duguid, Timothy Charles Abstract: The Book of Psalms has occupied a privileged place in Christianity from its earliest years, but it was not until the sixteenth century that metrical versifications of the Psalms became popular. Because of the notable influence of Martin Luther and John Calvin, the musical phenomenon of metrical psalm singing spread throughout Protestant circles on the European mainland and in Britain. These versifications knew no boundaries among Protestants: reformers and parishioners, kings and laypeople, men and women, young and old memorised and sang the metrical psalms. In England and Scotland, the versifications written by Thomas Sternhold and John Hopkins became the most popular, as editions of these texts were printed in England from 1549 to 1828. The present study considers these metrical versifications and their melodies as they were printed and performed in England and Scotland from their inception until the final Scottish edition appeared in 1640. In particular, this study asserts that the years from 1560 to 1640 saw the development and reinforcement of two distinct ecclesiastical psalm cultures, one in England and the other in Scotland. Though based on a common foundation in the Sternhold and Hopkins texts, English and Scottish metrical psalmody preserved their distinct natures. However, both traditions also influenced their counterparts. The present study considers these cross‐influences and their effect on the tensions between conformity with foreign influences and fidelity to established practice in both countries. This study finally seeks to fill two significant gaps in current scholarship. It first compares the developments in English and Scottish metrical psalmody in the sixteenth and seventeenth centuries. Secondly, it considers the relationships between psalm tunes and their texts, with a closer musical analysis of the tunes than has previously been attempted. 2011-11-23T00:00:00Z