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THE UNIVE R S I T Y OF ALBERTA
by.
\ AN ESSAY
MASTER OF MUSIC
EDMONTON, ALBERTA
SPRING, l$ 8l
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T H E ' U N I V E R S I T Y O F A L B E R T A
RELEASE FORM
only.
(Signed)
PERMANENT ADDRESS:
DATED J 4 7/.9fo . . ^
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THE UNIVERSITY OF ALBERTA
Master of Music.
&
Supervisor
Date
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ABSTRACT
Of these, three arpr for bass voice and four contain brief choral sections.
The remaining ten piece^, for solo treble or female voice, are the subject
of this essay. The main emphasis is on the influence of the text and music
incorporates these three devices as well as the use of dotted rhythmic runs
i '. .
or bmaments/ the baroque sigh motive, Lombard rhythm and other weak/strong
and diagrammatic representations of form, and the texts of the songs and
biographical summaries $>f the conposer and the poets are included.
\
iii-a \
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o
* 1
TABLE OF CONTENTS
PAGE
I INTRODUCTION . \
.
IV CONCLUSIONS ........................ .. 82
V BIBLIOGRAPHY ................ 86
1
Iv
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/
TABLE OF EXAMPLES
*
Example
8. I b i d . , measures 11 through 15
, x.
/ .
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>
T A B L E O F -FIGURES
Figure Page
1. Diagrammatic representation of
9
2. Diagrammatic representation of V.
How long, great'God 17
'i
3. Diagrammatic representation of
Lord, what is man,; lost man 31
a. Diagrammatic representation of
* Now that the sun hath veil'd his light 4Q
5. Diagrammatic representation of
k Sleep, Adam', sleep and take thy rest 45
6. Diagrammhtic representation of
Tell me some pitying angel 53
7. Diagrammatic representation of
\
The earth trembled 60
8. Diagrammatic representation of
Thou wakeful shepherd 69
*
vi
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N
T H E D EPARTM ENT OF M USIC
of
THE U N IV E R S IT Y OF ALBERTA
\
prevents
LA M A J A Y EL RUISENOR
from the opera "Goyescas"...................... EnriqueGranados
( (1 8 6 7 -1 9 1 6 )
INTERMISSION
* . *
CHANSONS DE JEUNESSE.................... ...... Cloude Debussy
(T 862 -19 18)
Pantomine
Clcir de Lune
Pierrot
Apparition
(brief pause)
vii
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I INTRODUCTION
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All of the pieces dramatically express -strong
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touches on aria style. Careful consideration of the
pieces to life. ,
symbolism and chord and key changes will be pointed out and
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II BIOGRAPHY _
'' generally, assumed to have been born sometime between June '
'V
and November of 1659> the son of Henry and Elizabeth
lifetime.
8 Ibidf, p. 2 .
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5
\1
master whose responsibility it was to house and feed them,
of whom was Captain Henry Cooke, who held the post from
influence on him. .
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One of Purcell's duties as organist was to perform
Frances Peters. Their first child was born just one week
organist (Edward).
%
III Parts for two violins and bass with organ or harpsichord.
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/ \1
In July of 1'68 g , Purcell became an official
member of. the king's private music and In the same year
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Ill THE SONGS
with the Lord, the second section deals with his conversion,
A .
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* I
oo
OJ
1 - 4 equals. 24
f
f
continuo only continuo only
16 20 Equals 20 24
"It would s h o w . .. . . .so b r i g h t ."
40 43 equals 47
"With .feet that... ... our story."
%
Figure 1. Diagrammatic representation.of
Full of wrath his threat'ning b r e a t h .
As can be seen by the preceding illustration, recurrence
i ,
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The two narrative sections are obviously divided both in
in bars 24 to 28 .
intensity. Ija bar 34 the key moves briefly away from the
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J
0
I
* 12
are there more than two notes per syllable used; thus his
%
or interrupted. J
' in bar 5. The aspirated short note he!re gives life to the *
X2 -
"Aspiration *1 In this context refers to- an Initiation
of the tone with the sound of "h," rather than the '
seventeenth century ornament also kr\ow as a "cadent," 1
"accent,"."plainte," "springer," and "nachschlag." See
Putnam Aldrich, "Nachschlag," Harvard Dictionary of Music
(2rid ed. , revised; Cambridge, Mass." The Belknap Press of
Harvard University ""Press, 1972), p. 562-63- .
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to the "broken" feeling is the leap downward of a diminished
at that m o m e n t .
humming quality. .
faster tempo for an instant and serves to bring out the "s"
i
sounds of the word as well. Purcell creates the feeling of
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14
phrase.
the sentence "On his amazed eyes it'night did fling, That
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10. It passes by very quickly owing to the rapid rhythmic
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chromatic setting. In har 32 the reverse effect is created
glory of God.
\ ...
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HOW LONG,' GREAT QOD
0
The, Aspiration
17
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of the soul, and section (B) deals with the release of. the
the (B) section shows more signs of hope for the sinner,
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bars 30 to 32 on the words "It turns, and points agaip to ,
thee.")
on the text "fly, and love on all the w a / . " The first
1'
repeat of the pattern does not occur until one note after
\
\
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20
melisma used to colour the word "tremble" in bar 24, and the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21
\
J
leap of an octave on the word "distance in bar 35- The *1
to t h e e ."
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22
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IN THE BLACK, D I SMAL DUNGEON OF DESPAIR
^ -S.
23
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where a long melisma on the Word "great" precedes the
words "Thy mercy, Lord, once more advance" (bars 42 and 43) >
t C
and descends to a cadence in G major in bar 47. Immediately
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Bar 1 starting on the beat.
*K\l ", (Lombard rhythm)
Bar 8 as a h o v e .
'h.r-riI*
Bar 12 . I I) F R } "hopes" falls on the
^ V ' weakest part of beat
( 11All Upe three creating a
syncopated effect.
Bar 28 (Lombard)
* me" ^ '
Bars 43 to 45 ) ^ b (Lombard)
"U
0 jive me
w*"
vy
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26
m
7 6 T t *
* pzz^ z z r z f c i b
^3 &
JC 3ZZ
*
Jc
&
z:
&
m ? *
%
cn
m
P
io m
m
i
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27
o
ii *
%[> y -M
S
i r
i
"v
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used as a unifying device in this otherwise unpatterned
recitative style.
E S
LuoK
. *
**eet J - *u, looK a<\ t le-f+ai-U***
*
m
f-
the two brings a heayy emphasis upon the second line, which
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
a person, who is drowning. The long melisma on the word
use of the tied quarter t^otes on the word "far." The use
I
o-f.a chromatic turn on the words " tis more than to create"
'd&d melt that rock," in bars 49 and 50, paints the word
p .
"melt."
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' /I
Use of the ba: 'que sigh motive is found in bars
14
A series of slurred notes in either upward or downward
progression or both, resembling sighing.
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/ ^LOftD, WHAT IS MAN, LOST MAN' -
I
A Divine Hymn - .
1 * Dance- J Fugal/
"(A) Dramatic R e c i t , (B) Imitative/ Like (C) limitative
-I if 5 93 9 3 : 1 2 ^ 0
. at the end gf the poem constitute the text for the (B)
questions:
31
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Lord, what is man, lost man, that thou should*st be
So mindful of him, that the. son of God
Forsook his glory, his abode,
To become a p o o r ,'tormented man?
to open his sacred songs. The pulses of the poetry and the
example,0 the words "Lofrd, what is man, lost $&n that thou
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exist in the characteristic leaps and dotted rhythms of
s ' .
both sequences utilizing the same text: "And that; for me,
/
I I:- -
y. > . '
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its dance-like, more patterned qualities reflect its more
bar 5*1 where it drops out of sight and does, not return again
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35
f F k j f. 4
<y OK!
2Z
f 8 i
-r -J r- - - . -- - -- ( H <5 1
--------
y r \- -1--------
-----------------
F 1 3
/
t 'f
pp
pfet-
krizz
-r
1
>3 , !
P*---i
--- -----------------
T 1 f ~-
r- P - --- =
^#..4- *i( +W .jx-o.it - fit 0f 4w' -</- <*' We, j
; .-- f?
:
------ 1----- :----
---------------
1
.... r - * } L _ _ --------,
---
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36
moves back and forth between the continuo and the voice line
continues for one and one-half bars where the two lines
end in B major. Bars 102 and 103 in the yoice line, are
\
120. -
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G minor-on the words "To hecome a p o o r , tormented m a n ?"
to the mood.
become lost in the new hopeful mood and one is only left
.has, been the major yehicle for dramatic effect. There is,
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the unimportance of man as compared with the Lord, whose
Here, the images of both a worm crawling deep down into the
brought to mind.
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>
NOW THAT THE SUN HATH VEIL'D HIS LIGHT
D major. - "
V
39
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Section (A)
j
12" 31 32 36^37 ^8 527 53 & 64
Six G.B. patterns in One G.B. Three G.B. Two G.B.
G major. pattern in patterns in patterns in
B minor. D major. G major.
/ / . /
G-maj or G-major D-major v
modulatory bridge, '
" modulatory modulatpry b r i d g e .
bridge.
F4 ------- :
"59 59" ~ 7 ~ 114
Five G.B. patterns in G major, Five G.B. patterns in 113
/
general upward m o v e m e n t . G major, general down G-maj or
ward m o v e m e n t . tonic reso-
: lution^
Figure 4b. Ground bass patterns in
Now that the sun hath v e i l fd his light
O
ill
line occurs twice (bars 5*1-59 and bars 60-6*1). The music
S tt a
' ' '
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sequences are from ,bar 104 : beat four', to bar 109 : beat
114. 0nc\ again the ground bass pattern is the same 'for
bars 79 through 89 .
tr
with the idea changes in the poetry.- The first main cadence
The mercy that prolongs thy days!" The cadence here ends
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from section CB-2) by virtue of its two ten-bar phrases
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using the bridge pattern in the continuo. Once back into
In bar 34. \
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SLEEP, ADAM, SLEEP, AND T A K ^ THY REST
l.
" Anonymous
style, with the middle section being dance-llke. ' The slow
O .
CD
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46
the use both of key changes and rhythmic devices. The liberal
and
"W
, ,, But in the midst pf thy delights beware
Lest-Jaer enticements prove thy snare.
\ ' ' 4 *
mainly of half notes for the first six bars, while the
* c
movement ,in the voice line is almost constantly in eighth
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wqrds on long notes CJ S. or J, *) and altered tones. The
with the words "Fle^h of thy flesh." Upon the words "bone
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whole song, coming after the rapidly ascending line used
/ *
H M = i ---- T * jl -
--------r. K~
1 e i * T~ f ' r
* 6 ^ 3 -- 7---- ---------- /L-J
rnp J b = M
&
O
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49
in bar 8.
iji 7 . I ? - f - p z z C ' _
-C 3 /l^JLJL r t - - :
p rv-1 ) l--- -------- - y .| / * --- ^
ii
|o(<*j><*/see Wkt __ {Vy ifc - A ' Wk
1 & P ^* [I 1 :
Hi Ur-f---------------- ----- L--JL,--- _ J --------- JZ
----- 1-- #---- ;
----- e>------------ ----
^ " j -t :- J----------- ------- 1
the continuo and using the longest notes oar the strongest
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
50
~?y.
i I
words "bone of thy bone" are. set to the same pattern, beginning
four time in the CCl section. The four pulses are equally
f r-'
emphasized until bars 25 to 26, where fewer of the stressed
same tempo as CA), but the nature of the text C'Wake" rather
V.
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" V.
51
delivery. . "
chord on the words, "look up, and see" approaches the climax
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52
ax
"7"
S 3
A C\
i gKrrrTfiF
< ^rv* Qy Snare.
C\
-f- PT=
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TELL ME, SOME PITYING ANGEL
temple with the elders and she did not k n o w where He was.
It Is based upon the biblical story taken from Luke 2:42 ff.
> \ ' 1
.(A)_________ Recitatlye_______ ' .
1 55
" "Tell me, . . . hopes, farewell.."
C minor
Dance-like / Recitative
F major F minor to
G minor
C minor-t.o end
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The recitatlye monologue of the CA) section
"foretell" (bar 32), "cell" Cbar 40) and "farewell" Cbar 55)
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than It would have heen had he followed the strict .metrical
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56
the past, trying to take her mind off the seeming hopeless-'
as dramatic contrast.
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57
the character. . ^ /
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cause of the effect as well as the disjunct melodic line.
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b
116 In contrast to the preceding melismatic arioso section,
I
and dramatic ,tension Is 'created through the iise of repeated
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THE EARTH TREMBLED
(a.)_________________________
10 c 13 16 If * 20
A major '. F rain. D maj . A major
7. Diagrammatic ..representation of
.' 9 The earth trembled.
' v.
''' '
' ' / *
>'
} * ** ac- '
> '
./
vf vv', Ou ,
V - . "* -Vi- ,
r^ .r* -
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
historical narrative to moral. The first part, section
time of C h r i s t s Passion.
Section (B) comes to the present
m -
and makes a self-appeal to the^poet or singer to show
&
similar emotion ovej; our Lord's death to even p. minute
In the two places whefe this observation does not hold true
i .
there, are lines which continue a.thc'ight, and which would
the -text. The first Sjkch line is found in' bafs ? through 10
k second line until the word "harmony," where there is- an-
, eighth rest before the end of the second line. The vpord
" -b r *> * &,
"Spheres" tied' over the bar line, giving the connefifaion
it
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"harmony" reflects the semi-colon of the text, and also
Words:
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characteristic setting of a stressed syllable on the
bar 19 .
follows:
the same triad with the tonic on the top at the dnd, as can
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6H
iff ;
'
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at the cross.
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* ^suspension to the octave interval which follows, serving'
* *r
to illustrate the gaping action of tfie graves mentioned.
at this point. The words "To teach our hearts what our
A w |----~\
P Hv
JZ
f $ 1
P S l - f r - f
^4 Vioo/ 4.1c? 3>^||.
m ^ y - - f
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
. The Lombard rhythm in bar 27 on the words and trickle
The word "Melt," in bar 23, is brought out through the use
note.
section (A). ,
* ' -"!
The immediate change of key is taken literally from
was clad in' mourning., and the spheres Forgot their harmony."
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words "the clouds d r o p p d tears" Char 9) is also an example
The lines " T h ambitious dead aj^os/e to give him room; And
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THOU WAKEFUL SHEPHERD
A'Morning Hymn
1 29 367 37 40
"Thou wakeful. . .repentance see." "With joy. . . his c ath?"
V-
will help raise him from the bed of sin. (3) Bars 12 to
V ' . ''
19 contain his promise to walk i n , G o d s way. (4) In b a r s
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* , 5
celebration if he coi&d undo his past sins. C.6) In bars
manner.
bat 21, to E-flat major in bars 22, .23 and 24, C minor in
from tied whole notes over the bar line, to. constant
' , " I
'quarter notes and even some*eighth-note movement in bar 10.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
71
/* >
. The last two l\i^ies' of ce, which form the
text for section CB), areN^ot from the original poem. 15'
These added lines are: "With joy' I'd sing away m y breath,
Yet who can' die so to receive his death?11^ The fifth idea
I ,
utilized three times, twice ij> the voice and once in the .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
tempo. The entire, piece m o y e a quite slowly with, the
lines. I n
freeing, the singer to" m ake more of them* That is', these
words a r e :
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. )
wakeful shepherd, that does Israel"keep." The "shgpherd"
the words "up this." The words "To raise" are painted by
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
key to f C major.
I
In Bar 10v, the word "gracious" is emphasized by
t
"wish themselve
T ? 6: . -
Bar 32: "sing"
'Bar- 34 : "joy"
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"bed of sleep" (bars; . 4 and which occurs on a
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IV-
f
,vf WITH SI(?K. AND FAMISH'D EYES
*I *
With sick and famish'd eyes is a.poem of longing
help unify the piece are ,found in:' bar 4 , on "weary"; bar ,,
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77
, to 9 uses two patterns, the second fi.eing an adaptation of
^ '* ..
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six, bars M to ^6, with, the words "BeholdI thy dust doth
v * .
which my- heart Lies all the y e aiv P ^ & ^ R ^ u t th-y da^t,". .
V
- . -
&
Stanza two cadences'In B-flat m a j o r
V . ' *
" ''
'
(bar l2j), after-a particularly-;agjTtated four bar section in
'
**"' -
baijs 11* to 14. -Bar<5 ,15 to 19 contain the rest of the stanza,
1 jjf ,
with t^vmpls't poignant section, textually,, being, illustrated
-
-
by a despending syncopated line on. the words "lord-, I'fall."
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
four's most d r a s t i c line occurs in-bars 31 to 34 on the
words "0 what- flames, What heats abdund! What griefs, what
w
/
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In G minor, and r 'downward leap of a dimished fifth on the
dying head upon" in bars 3 7 and 38, provides the image o,f
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Text-painting is also evident ip the Aohnting
/
^ phrase "my tears ascend/l>in bars 8 and 9 . The word "turn,"
. the words. "Bow dowfr"-In bar 23. In bars *1*1 through H 6 , the
, A , 'r' '. ^ ' *
lifte "thy dus t doth stir, It'moves, it creeps to thee" is
1 ^ w * *V
subtly described by a slow-ifto^ing. a,scer^ding ^hroroat.ic line
% * r> a
''Symbolistociudfrs |ii*'tfie' sifiusiq t h rough the rqse of ./
h ' >.' .V.' f ',
ieceptive cqcjence ahd *0. 'feeling of. -continuity *invthe'
. v** \ w ' y * ! \ -1 .
.N
with permission of the copyright owner. Further reproduction prohibited without permission.
- %
*
w : CQ1& v
si ^
" ' V-^-v '"* *
The vocal -s^yle of Henry Purcell's sacred s>olo
device. ^ : . ...
* .
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threat'nlng b r e a t h , In the hlack, dismal dungeon of D e s p a i r ,
/
j
^ n d Lord, what Is man*, lost mart). Others are based on
Tell me, some pitying a n gel, and The earth trembled) . Two <
Thou wakeful, shepherd); and How long, great God and With
q thebe the only words, w h ich Oft chooses for such elaboration.
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; . 84
yk . ; t-
the
1* continuo varies from tied whole.notes,
< to sixteenth-
'
I ; .
dismal duhgeon of D e s p a i r .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
* textual phrases, and few'ornaments are found, constant
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V BIBLIOGRAPHY
13-15. * . + .
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o
*
87
i
Q
Donington, Robert., "Ornamentation: Baroque Embellishments,"
in G r o v e s Dictionary of Music, and M u s i c i a n s . Plftlr"
edition, edited bjr Eric Blom. London: . 'MacMillan, 195^.
(Vol. VI, pp. 375- 80.1 -
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
L-udman, Jean. "Henry Purcell: A NewLook at the Great
Master of English Song," National Association of
Teachers of Singing Bulle t i n , XI-XIY (May, 1957),
pp. 2-3 croptlnued on p. 27.
h > '
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Tosi, Pier. Francesco. Observations on th
_____________________________ 1
Florid S o n g :
O r , .Sentiments on the Ancient arid Modern S i n g e r s .
Second edition, L o n d o n : J~. W ileor,' 1743.' Reprinted
London:' William Reeves Bookseller, 1926. Original
printed at Bologna, 1723. 1&4 p. plus 6 pages of "N
musical examples at end.
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VI APPENDIX A: POEMS
Jeremy Ta.ylor
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91
V
V
/
The Aspiration
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In the black, dismal dungeon of Drg1Tpalr
William Puller
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y 93
** William Fuller
J Evening Hymn
William Fuller
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S(leep, Adam, Sleep, and take thy rest
Adam's Sleep
Anonymous
Nahum Tate
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95
;- v
Francis Quarles
Morning Hymn
William Fuller
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With sick and famish'd eyes
n ---------
Longing
George Herb
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VII APPENDIX B: BRIEF BIOGRAPHIES OF .THE.POETS
's
A friend of the writer Samuel Pepys, Fuller
* ^
became dean of St. Patrick's in 1660, bishop of Limerick
t
in 1663, and bishop of Lincoln In 1667, a post which he
and :
97
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collected work entitled The .Temple.. He Is also knpwn for
-
C
h.ls prose works A Priest to the Temple and The Goiin.try
in 187 4. *
1 (
Norris, John (1657-1711) . x '
17
Article, "Norris; John,"'in The Oxford Companion
to English Literature (2nd edn., edited by Sir Paul
'Harvey.," 1945), P. 556.
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99
(1701-1704).
v*
Mr. Norris wrote the poem, "How long, great God.
War to-' the seizure of his property and' the destruction of his
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In 1692, he was .appointed poet -.laureate and'In 1696 , with
Church, Southwark.
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O' . f
1651). .
, ,, >
lo
Article, "Taylor, Jeremy," in The Oxford Companion
to English Literature (2nd edn., edited try Sir Paul
Harvey, 1945), p.- 767. o
y
*
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