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Musical Expression in German Neo-Bar...

Astleford, Cari Michelle.

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Musical Expression in German Neo-Baroque Organ Music: Case Studies of Selected Works by Hugo Distler and Ernst Pepping.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical Expression in German Neo-Baroque Organ Music: Case Studies of Selected Works by Hugo Distler and Ernst Pepping./
Author:	Astleford, Cari Michelle.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	195 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-10, Section: A.
Contained By:	Dissertations Abstracts International85-10A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30690213
ISBN:	9798382191881

Musical Expression in German Neo-Baroque Organ Music: Case Studies of Selected Works by Hugo Distler and Ernst Pepping.
Astleford, Cari Michelle.

Musical Expression in German Neo-Baroque Organ Music: Case Studies of Selected Works by Hugo Distler and Ernst Pepping. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 195 p.

Source: Dissertations Abstracts International, Volume: 85-10, Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2024.

The German neo-Baroque style of composition developed in the first half of the twentieth century. Within this style, composers used Baroque techniques and methods along with twentieth-century rhythms and harmonies. The style grew out of movements such as the Baroque revival and the Orgelbewegung, or Organ Reform Movement. In the organ world, a strong connection between organ builders and organists/composers created a specific neo-Baroque sound for the organ. Two composers, Hugo Distler (1908-1942), a professional organist, and Ernst Pepping (1901-1981), who casually played the organ, were among others in Germany to experiment in the neo-Baroque style. This thesis examines the lives of Distler and Pepping to see what may have influenced their style and the possible influences that may have contributed to their use of techniques of Baroque musical expression. Techniques such as musical rhetoric, affect, numerology, and word painting were often found in Baroque music as a way to artistically convey expression. This thesis presents evidence that these techniques may also be found in neo-Baroque music by Distler and Pepping and that they are used for similar expressive purposes.Specific case studies of the use of techniques of Baroque musical expression in Distler's Partita "Wachet auf, ruft uns die Stimme" Op. 8, no. 2 (1935) and Pepping's Toccata and Fugue{A0}"Mitten wir im Leben sind" (1941), and Distler's Organ Sonata (Trio) Op. 18, no. 2 (1939) and Pepping's Four Fugues in D, c, E{acute}{99}{Uhorn}, and f (1942) are explored. I also explore the difference between the use of techniques of Baroque expression in text-based works, using the first two scores, and in non-text-based works, using the second two scores. Finally, I conclude by showing how analyses such as those done in this thesis can be beneficial for the expression and understanding of the music by both performers and audiences.

ISBN: 9798382191881Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Baroque musical expression

Musical Expression in German Neo-Baroque Organ Music: Case Studies of Selected Works by Hugo Distler and Ernst Pepping.
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520 $a The German neo-Baroque style of composition developed in the first half of the twentieth century. Within this style, composers used Baroque techniques and methods along with twentieth-century rhythms and harmonies. The style grew out of movements such as the Baroque revival and the Orgelbewegung, or Organ Reform Movement. In the organ world, a strong connection between organ builders and organists/composers created a specific neo-Baroque sound for the organ. Two composers, Hugo Distler (1908-1942), a professional organist, and Ernst Pepping (1901-1981), who casually played the organ, were among others in Germany to experiment in the neo-Baroque style. This thesis examines the lives of Distler and Pepping to see what may have influenced their style and the possible influences that may have contributed to their use of techniques of Baroque musical expression. Techniques such as musical rhetoric, affect, numerology, and word painting were often found in Baroque music as a way to artistically convey expression. This thesis presents evidence that these techniques may also be found in neo-Baroque music by Distler and Pepping and that they are used for similar expressive purposes.Specific case studies of the use of techniques of Baroque musical expression in Distler's Partita "Wachet auf, ruft uns die Stimme" Op. 8, no. 2 (1935) and Pepping's Toccata and Fugue{A0}"Mitten wir im Leben sind" (1941), and Distler's Organ Sonata (Trio) Op. 18, no. 2 (1939) and Pepping's Four Fugues in D, c, E{acute}{99}{Uhorn}, and f (1942) are explored. I also explore the difference between the use of techniques of Baroque expression in text-based works, using the first two scores, and in non-text-based works, using the second two scores. Finally, I conclude by showing how analyses such as those done in this thesis can be beneficial for the expression and understanding of the music by both performers and audiences.
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