Patterns of accentuation in the classical style as supported by primary sources and as illustrated in the late Masses of Franz Joseph Haydn.

Abstract

This document concerns itself with aspects of late eighteenth-century performance practice, most notably, accentuation. The aspect of eighteenth-century style that is often neglected in twentieth-century performances is the use of proper accentuation, which should be an integral part of eighteenth-century musical performance.

Chapter Two presents primary source descriptions of accentuation by thirty-six eighteenth-century theorists. From these descriptions the reader will gain an understanding of the importance placed upon the proper realization of accentuation in eighteenth-century performance.

The last chapter provides a conclusion as to why certain aspects of eighteenth-century performance practice are no longer adhered to in twentieth-century performances. This chapter further states the need for twentieth-century performances. This chapter further states the need for twentieth-century performers and scholars alike to read the treatises of the Eighteenth Century in order to obtain the information necessary to perform eighteenth-century music in a historically correct manner.

In Chapter Three situations of accentuation and various circumstances which affect accentuation are given. The six late Masses of Franz Joseph Haydn are used as explicit examples.

In Chapter One an introduction to the development of accentuation up to the late Baroque period is given. This history is traced using two elements which have affected accentuation since the ancient Greek period, namely, the arsis-thesis concept and the principles of poetic meters.