The instrumental music of Peter Philips
<p>There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental mu...
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| Format: | Thesis |
| Language: | English |
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1994
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| _version_ | 1826298064422305792 |
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| author | Smith, D |
| author_facet | Smith, D |
| author_sort | Smith, D |
| collection | OXFORD |
| description | <p>There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece.</p> <p>The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources.</p> <p>In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a <em>stemma</em> of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers.</p> <p>Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.</p> |
| first_indexed | 2024-03-07T04:41:08Z |
| format | Thesis |
| id | oxford-uuid:d1af3140-2553-4f58-8437-a1eee66d7f13 |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T04:41:08Z |
| publishDate | 1994 |
| record_format | dspace |
| spelling | oxford-uuid:d1af3140-2553-4f58-8437-a1eee66d7f132022-03-27T07:58:38ZThe instrumental music of Peter PhilipsThesishttp://purl.org/coar/resource_type/c_db06uuid:d1af3140-2553-4f58-8437-a1eee66d7f13History and criticismInstrumental musicEnglishPolonsky Theses Digitisation Project1994Smith, D<p>There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece.</p> <p>The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tregian, are discussed at length. The remaining keyboard sources are considered, followed by consort and lute sources.</p> <p>In Part 2 the technique of intabulation is shown to be central to Philips's keyboard style. A distinction is made between arrangements made by Philips of his own works, those made by him of other composers' works, and settings of his music made by others. A case study of the 'Dolorosa Pavan' is used to illustrate how widely Philips's music was disseminated, and allows us to establish a <em>stemma</em> of sources which helps us to elucidate - and improve - our understanding of their inter-relationships. A second case study attempts to establish the origins of the pavan dated by Tregian to 1580: the original 'model' on which the keyboard piece is based has not survived. The thesis ends with an attempt to place Philips's instrumental repertory in the context of his contemporaries, using Philips's music as a 'touchstone' to refer to relationships (mostly stylistic) with other composers.</p> <p>Part 3 comprises transcriptions of Philips's instrumental pieces. The texts of each source for a piece are given in parallel with the minimum of editorial adjustment: Part 3 is intended to be a reference tool, not an edition.</p> |
| spellingShingle | History and criticism Instrumental music Smith, D The instrumental music of Peter Philips |
| title | The instrumental music of Peter Philips |
| title_full | The instrumental music of Peter Philips |
| title_fullStr | The instrumental music of Peter Philips |
| title_full_unstemmed | The instrumental music of Peter Philips |
| title_short | The instrumental music of Peter Philips |
| title_sort | instrumental music of peter philips |
| topic | History and criticism Instrumental music |
| work_keys_str_mv | AT smithd theinstrumentalmusicofpeterphilips AT smithd instrumentalmusicofpeterphilips |