L'Art de doubler

Anežka Drozdová

Just as variety and change are the core principles of nature itself, they seem to be essential for music, too. This research examines doubles in the repertoire for flute between 1700–1750 as a specific type of variation. Originating as a vocal tradition of embellishing the second verses of airs de cour, the tradition continued in instrumental music by creating doubles mostly for songs and dance forms, such as Menuet, Gavotte or Sarabande and remained popular until it gradually evolved into the variation form in the second half of the 18th century. The role of the flute in this repertoire is unique thanks to the vogue of the airs the cour among flautists and composers for flute. The presented exposition traces the development of doubles in the flute repertoire of the first half of the 18th century. Highlighting the variety of unique compositional styles, the research distinguishes between three typological categories of doubles: diminutive, ornamental, and those presented in sets of variations, typical of a Galant sonata. The examination and analysis of a representative number of doubles led me to extract elements and patterns, typical for each category, and, in turn, this thorough study of the doubles allowed me to play them with a better understanding. Finally, the synthesis of both the theoretical and empirical approaches provided enough information and inspiration to compose doubles for other musical pieces from the same period. These newly composed doubles are included in the collection titled L’Art de doubler, attached to the exposition.

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Revised and expanded edition, Portland: Amadeus Press, 1997.

Bacilly, de Bénigne. A Comentary upon The Art of Proper Singing. Translated and edited by Austin B. Caswell. New York: The Institut of Medieval Music, LTD., 1968.

Baron, John h. “Air de cour.” Grove Music Online, 2001.

https://doi.org/10.1093/gmo/9781561592630.article.00362.

Brown, Rachel. The Early Flute: A Practical Guide. New York: Cambridge University Press, 2002.

Donington, Robert. The Interpretation of Early Music. London: Faber and Faber, 1963.

Garden, Greer. "Double (i)." Grove Music Online. 2001.

https://doi.org/10.1093/gmo/9781561592630.article.53467.

Haynes, Bruce. The End of Early Music. New York: Oxford University Press, 2007.

Kuijken, Barthold. The Notation is not the Music. Bloomington: Indiana University Press, 2013.

Lasocki, David. “The Doubles in Jacques Hotteterre’s Airs et brunettes (ca. 1721).” Recorder Education Journal 5 (1999): 21-52.

Loulié, Etienne. Éléments ou principes de musique. Paris: Christophe Ballard, 1696.

Montéclair, Michel Pignolet de. Principes de musique. Paris: Montéclair, 1736. https://imslp.org/wiki/Principes_de_musique_(Mont%C3%A9clair%2C_Michel_Pignolet_de).

Reimann, Margarete. “Zur Entwicklungsgeschichte des Double: Ein Beitrag zur Geschichte der Variation.” Die Musikforschung, 1952, 5. Jahrg., H. 4, INTERNATIONALEN QUELLENLEXIKONS DER MUSIK (1952), pp. 317-332. https://www.jstor.org/stable/23804864.

Schmitz, Hans-Peter. Die Kunst der Verzierung im 18. Jahrhundert: instrumentale und vokale Musizierpraxis in Beispielen. Kassel: Bärenreiter, 1965.

Sisman, Elaine. "Variations." Grove Music Online. 2001.

https://doi.org/10.1093/gmo/9781561592630.article.29050.

Thesiger, Wilfred. Arabian Sands. Dubai: Motivate Publishing, 1994, 2006. First published London: Longmans, Green and Co Ltd., 1959.

Traficante, Frank. “Division.” Grove Music Online. 2001.

https://doi.org/10.1093/gmo/9781561592630.article.07870.

Quantz, Johann Joachim. On Playing The Flute. Translated by Edward R. Reilly. Second edition, Boston: Northeastern University Press, 2001.

<<< The previous page (Acknowledgements)

The following page (List of musical sources) >>>

Tip

Tip

Anežka Drozdová - L'Art de doubler - 2025