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Georg Philipp Telemann’ın yaşadığı ve Klasik Batı Müziği’nin altın çağı olan Geç Barok dönem; yeniliklerin ve birden fazla müzik formunun geliştiği, konçerto ve sonatın zirveye ulaştığı dönemdir. Bu dönemde tüm besteciler, özellikle Georg Philipp Telemann tarafından benimsenen obua, dönemin en popüler enstrümanlarından olmuştur ve obua için yüzlerce beste yapılmıştır. G. Ph. Telemann’ın, her ülkenin müzikal öğelerini eserlerinde kullanması müzikte devrim yaratan bir özelliğidir. Zengin armonik düşünceleri, etkili melodileri, karmaşık motifleri sayesinde çağının en saygıdeğer bestecisi olmuştur. Dönemin en üretken bestecisi olarak tanınan G. Ph. Telemann, her enstrüman için sayısız beste yapmıştır. En üretken ve en verimli dönemlerinde bestelediği obua konçertoları, fantezileri ve sonatları, obua repertuvarına çok büyük katkı sağlamıştır. Bu araştırmada, Georg Philipp Telemann’ın obua için bestelediği popüler konçertolar tanıtılmış ve onları icra edecek müzisyenler için içerikleri incelenmiştir. İcracıların dönemi ve enstrümanı daha derin kavrayabilmeleri, G. Ph. Telemann’ın müzikal kimliğini tanımaları için Barok dönemin, obuanın ve G. Ph. Telemann’ın müzikal özelliklerine değinilmiştir The golden age of Western Classical Music, the Late Baroque era, at which Georg Philipp Telemann lived, was the era when innovations and multiple musical forms developed, the concerto and sonata reached their peak. During this era, all composers, especially Georg Philipp Telemann, adopted the oboe and it became one of the most popular instruments of the era. Hundreds of compositions were composed for the oboe. G. Ph. Telemann's use of musical elements from each country in his works is a revolutionary feature in music. He became the most respected composer of his age thanks to his rich harmonic thoughts, effective melodies and complex motifs. Known as the most prolific composer of the era, G. Ph. Telemann composed numerous compositions for each instrument. The oboe concertos, fantasies and sonatas which he composed during his most productive periods contributed greatly to the oboe repertoire. In this research, popular concertos composed for oboe by Georg Philipp Telemann were introduced and their contents were examined for the musicians who performed them. The musical characteristics of the Baroque era, the oboe and G. Ph. Telemann were mentioned so that the performers could have a deeper understanding of the era, the instrument and to recognize G. Ph. Telemann's musical identity.

Rad ne sadrži sažetak.

Bu araştırmada; Georg Philipp TELEMANN’ın Re Majör Trompet konçertosu form ve icra yönünden incelenmiş olup, trompet icracılarına ön hazırlık olması amaçlanmıştır. Barok döneme ait bir eser olarak repertuvarlarında, büyük ölçüde katkı sağlayacağı düşünülmektedir. Araştırmanın ilk bölümünde; Barok dönemin hangi yılları kapsadığı, müziğinin yapısı ve genel özellikleri ile yapılan yeniliklere dair bilgiler verilmiştir. İkinci bölümünde, Georg Philipp TELEMANN’ın hayatı ve müzik tarihindeki yeri incelenmiştir. Üçüncü bölümde, trompetin genel yapısı ve tarihçesi anlatılmıştır. Dördüncü bölümünde, Georg Philipp TELEMANN’ın eserlerinden Re Majör Trompet Konçertosu’nun ( TWV 51 D7 ) form ve icra yönünden incelenmesi ele alınmıştır. Araştırmanın sonucu olarak; trompet için yazılmış eserin, form yönünden anlaşılması ve icra edilirken karşılaşılacak zorlukların, verilen örnekler ile eserin çalışılmasında kolaylık sağlayacağı gözlemlenmiştir. A form and performance analysis of Georg Philipp TELEMANN’s D Major Trumpet Concerto has been conducted to be a preliminary material for future studies. Being a baroque concerto, it is considered to be a great contribution to the literature. In the first chapter of the study, topics such as years that cover the Baroque Period, the structure of its music, general features of the period, and the advancements within this period have been laid out. The second chapter, on the other hand, includes the life of Georg Philipp TELEMANN and his place in the history of music while the third chapter handles the general structure of the trumpet and its history. In the fourth chapter, the form and performance analysis of Georg Philipp TELEMANN’s D Major Trumpet Concerto (TWV 51 D7) has been covered. As a result of the study, it has been observed that understanding this work in terms of the structure of form and an example-based approach to difficulties would facilitate working on it from the performer’s perspective.

Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf L?dtke and Richard van D?lmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ?average citizens? with their daily musical routines, motivations and preferences, and the result is oft en a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ?table music?, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship.

Is it useful to write history on everyday musical life? And how can we do it? This article introduces a historiographical concept initiated by historians such as Carlo Ginzburg, Alf Lüdtke and Richard van Dülmen already in the 1970s, in an attempt to renew the writing of history. Instead of the reconstruction and interpretation of grand narratives and deep structures in society, economy and culture, these historians offer close descriptions of ‘average citizens’ with their daily musical routines, motivations and preferences, and the result is often a cluster of fascinating and wide-ranging insights into different forms of contact with music. Following this general approach, I hope to offer a panorama of everyday musical culture in Hamburg in the early eighteenth century. The sources used for this study include different musical genres such as opera, cantata and instrumental ‘table music’, as well as books, newspaper reports, subscription lists, diaries, behavioural guides and archival documents. This material permits insights into the uses made of musicians such as Johann Mattheson, Georg Philipp Telemann and Reinhard Keiser, as well as into the social lives of the Hamburg citizenship. Колика је корист од писања историје свакодневног музичког живота? И како се то ради? У овом чланку представљам историографски концепт који су иницирали историчари попут Карла Гинзбурга, Алфа Литкеа и Рихарда ван Дилмена још седамдесетих година ХХ века, у покушају обнове писања историје. Уместо реконструкције и интерпретације великих наратива и дубоких структура у друштву, економији и култури, ови историчари нуде детаљне описе „просечних грађана” и њихових свакодневних музичких пракси, мотивација и преференција, а као резултат оваквих разматрања најстају кластери фасцинантних и далекосежних увида у различите врсте контаката с музиком. Следећи овај генерални приступ, представљам панораму свакодневне музичке културе у Хамбургу почетком XVIII века. Извори коришћени за ову студију обухватају различите музичке жанрове попут опере, кантате и инструменталне „музике за ручавање”, као и књиге, новинске чланке, спискове претплатника, дневнике, правилнике понашања и архивске документе. Овај материјал нам пружа увид у делатност музичара попут Јохана Матесона, Георга Филипа Телемана и Рајнхарда Кајзера, као и у друштвени живот грађанства у Хамбургу у XVIII веку. This essay originates from a paper given at a seminar The Future of Music History organised by Prof. Jim Samson, during the eponymous conference at the Serbian Academy of Sciences and Arts (28–30 September 2017).

El proyecto de investigación propuso como hipótesis responder a las siguientes preguntas: ¿Es posible configurar un análisis retórico-musical suficientemente sistemático para abordar el repertorio anterior al clasicismo? Este análisis basado en las premisas de la Musica Poetica, además de posibilitar una mejor compresión de dicho repertorio ¿admite una hermenéutica no normativa en función de una praxis interpretativa? ¿Puede el análisis retórico-musical ser útil para la interpretación actual del repertorio histórico, inserto en la complejidad de la praxis musical actual? La hipótesis presupuso además que un análisis retórico-musical basado en la disciplina de la Musica Poetica se muestra lo suficientemente sistemático si al aplicarlo a un corpus considerable de repertorio presenta resultados significativos. Este análisis se realizó no sólo como una descripción válida de una construcción cerrada sino como una aplicación de herramientas que permiten flexibilizar las normas y requerimientos que la interpretación de un determinado género o estilo prescribe. Su objetivo final es el proceso de ejecución en tiempo real y la comunicación con el oyente. Consideramos que este enfoque analítico aporta al intérprete de repertorios históricos recursos para operar en el complejo marco de la praxis musical actual. Lo aleja así de la función meramente reproductiva y mediadora entre compositor y oyente que conlleva la concepción idealista decimonónica de la música y lo acerca a otros géneros como los de las diversas manifestaciones de la música popular. Luego de plantear un marco socio-histórico para definir el perfil del instrumento y el repertorio paradigmático elegido, la investigación recorrió las secciones en la que se divide la disciplina retórica (inventio, dispositio, elocutio, memoria y pronuntiatio/actio) elaborando herramientas analíticas para estudiar la música propuesta. El estudio se realizó basado en premisas extraídas de fuentes primarias y secundarias. Los resultados de la investigación se aplicaron entonces a un estudio de caso en el último capítulo. Fil: Pérsico, Gabriel. Universidad Nacional de Córdoba. Facultad de Artes. Doctorado; Argentina.

Hamburg was a main center for the development of protestant church music in the first half of the 18th century, especially for the oratorio, a genre which is stylistically indebted to operatic music. Works of two of the main composers of so called theatrical church music, Johann Mattheson and Georg Philipp Telemann, are treated in different articles, based on published scientific papers by the author. In a first chapter, the historical background of these works is explained, especially the situation at Hamburg Cathedral, where Mattheson worked from 1715-1728 as music director, Individual works treated in the book are Mattheson's funeral music for King George I. of England, his wedding serenatas, and 2 biblical oratorios by Telemann which had been falsly attributed to G. F. Handel in the surviving sources.

Hamburg was a main center for the development of protestant church music in the first half of the 18th century, especially for the oratorio, a genre which is stylistically indebted to operatic music. Works of two of the main composers of so called theatrical church music, Johann Mattheson and Georg Philipp Telemann, are treated in different articles, based on published scientific papers by the author. In a first chapter, the historical background of these works is explained, especially the situation at Hamburg Cathedral, where Mattheson worked from 1715-1728 as music director, Individual works treated in the book are Mattheson's funeral music for King George I. of England, his wedding serenatas, and 2 biblical oratorios by Telemann which had been falsly attributed to G. F. Handel in the surviving sources.

This Master's report encompasses form, harmonic analysis, and style analysis of the four works performed on February 11th, 2007 for the author's Master's recital. Analysis was based on the author's experience with the pieces. Many sources were utilized to discuss composer biographies, background information of the solos, and historical information of musical terms and periods. The pieces are Georg Philipp Telemann's Sonata in F minor, John La Montaine's Sonata for Flute Solo, Kelly McCarty's Cinco Mundos, and Otar Taktakishvili's Sonata for Flute and Piano.