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dc.contributor.authorWills, George Desmond
dc.date.accessioned2019-09-06
dc.date.available2019-09-06
dc.date.issued2019-09-06
dc.identifier.urihttp://hdl.handle.net/2123/21041
dc.description.abstractIn 1730, Flemish Bishop Jean Baptiste Ludovico de Castillion (1680-1753) produced a collection of French-style guitar music entitled Recueil des pieces de guitarre composées par Mr. François Le Cocq (B-Bc MS S 5615). Significantly, this text (alongside an abridged copy of the manuscript by Castillion) is the largest surviving source of compositions formally attributed to François Le Cocq (fl. 1685-1729) who was guitarist at the Chapel Royal in Brussels. This project investigates Castillion’s manuscript of 1730. Specifically, compositions of François Le Cocq are examined to appraise practical implications for performance on the 5-couse guitar. Music by Le Cocq and his contemporaries is considered to evaluate stylistic trends of late seventeenth-century French-style guitar composition. Through this research and practical testing, ambiguities evident in Castillion’s manuscript are evaluated, leading to an informed interpretation of François le Cocq’s music for the 5-course guitar.en_AU
dc.publisherUniversity of Sydneyen_AU
dc.publisherSydney Conservatorium of Musicen_AU
dc.rightsThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
dc.subjectGuitaren_AU
dc.subjectBaroqueen_AU
dc.subjectFrançois Le Cocqen_AU
dc.subjectFive Courseen_AU
dc.titleFrançois le Cocq’s Music for the 5-course Guitar: Consideration of Composition and Performance Styleen_AU
dc.typeMasters Thesisen_AU
dc.type.pubtypeMaster of Music M.Mus.en_AU


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