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Carlton Gamer Compositions From my youth: Fifty pieces for solo piano, voice, chamber ensembles, or orchestra (1937-1947) Nocturne for cello and piano (1944, revised 1992) Wer nie sein brot mit Tränen ass (J. W. von Goethe, from Wilhelm Meister ) for soprano and baritone duet and piano (1945) “Go where glory waits thee” (Thomas Moore) for mezzo-soprano and piano (1945) “Reverie” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) “Sea Charm” (Langston Hughes) for mezzo-soprano or baritone and piano (1946) Two songs from “A Shropshire Lad” (A. E. Housman) for tenor and piano: “Along the field as we came by” and “On your midnight pallet lying” (1946) “Drink in the beauty of this night” (Ream Lazaro) for baritone and piano (1946) Fragments for piano or harpsichord (1947, 1984) Barcarolle and Chaconne for piano (1947- 1949) Sonnet: “Oh, never say that I was false of heart” (William Shakespeare) for tenor and piano (1948, 1969) Two Songs to texts by Li Po for mezzo-soprano and flute: “On hearing the flute at Lo-Cheng one spring night” (1948, 1990) and “In the mountains” (1990) “After two years” (Richard Aldington) for tenor and piano (1949) Song: “A dream of death” (William Butler Yeats) for baritone or mezzo-soprano and piano (1949) String Quartet (1950, revised and re-entitled Between Heaven and Earth, 2012) Pastorale for flute, clarinet, and strings (1950-51) Fantasy for Orchestra (1951, revised and re-entitled Generation, 2012-13) Conversation for flute (or recorder) and piano (1952) Serenade for flute, violin, and clarinet (1952, revised 1964) Theme and Variations for Clarinet and Piano (1953) Fantasy for Flute, Clarinet, and Piano (1953) Aria da Capo (composition for dance with narrator) (text by Ilka Suarez and Carlton Gamer, after Edna St. -
Musical Explorers Is Made Available to a Nationwide Audience Through Carnegie Hall’S Weill Music Institute
Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 Weill Music Institute Teacher Musical Guide Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 2016 | 2017 WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Amy Mereson, Assistant Director, Elementary School Programs Rigdzin Pema Collins, Coordinator, Elementary School Programs Tom Werring, Administrative Assistant, School Programs ADDITIONAL CONTRIBUTERS Michael Daves Qian Yi Alsarah Nahid Abunama-Elgadi Etienne Charles Teni Apelian Yeraz Markarian Anaïs Tekerian Reph Starr Patty Dukes Shanna Lesniak Savannah Music Festival PUBLISHING AND CREATIVE SERVICES Carol Ann Cheung, Senior Editor Eric Lubarsky, Senior Editor Raphael Davison, Senior Graphic Designer ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Jeff Cook Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute. Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company. © Additional support has been provided by the Ella Fitzgerald Charitable Foundation, The Lanie & Ethel Foundation, and -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set). -
Music Appreciation, 6 Grade
Pennington Traditional- Music Appreciation, 6th grade Teacher: Mrs. Stachour Updated: March 20, 2020 Prior Assignments, Month Objectives Covered Additional Available Resources Assessments, Resources 6.1 The student will read Teacher generated counting I Knew You Were Treble- song reviewing lines and notate music, including examples and spaces in treble clef 1. identifying melodic https://www.youtube.com/watch?v=U2TLtRu6Hqk&list=LLS- patterns; Rhythm counting Hlvqs0ihsX4F9mgHKX-g&index=12 2. recognizing diatonic manipulatives All About That Bass (Clef)- song reviewing lines intervals; and spaces in the bass clef 3. identifying notes written Students creating rhythms https://www.youtube.com/watch?v=EY-hJ9WZ6lk&list=LLS- on the bass staff; individually and in small Hlvqs0ihsX4F9mgHKX-g&index=11 4. notating melodies on the groups treble staff, with emphasis Counting review video- contains whole, half, on steps and skips; Teacher and student created quarter, and eighth notes and rests 5. reading and notating mnemonics for note names in https://www.youtube.com/watch?v=LVOjKCztqTs&list=LLS- September rhythmic patterns that treble and bass clef Hlvqs0ihsX4F9mgHKX-g&index=4&t=0s include whole notes, half notes, quarter notes, eighth Counting games such as notes, and corresponding “Poison Rhythm” to reinforce rests; and 6. identifying the written and aural identification meaning of the upper and of rhythms lower numbers of time signatures. 6.4 The student will perform rhythmic patterns that include whole notes, half notes, quarter notes, eighth notes, and corresponding rests. 6.1 and 6.4 continued Teacher and student generated 6.3 The student will play a examples variety of pitched and nonpitched instruments, Continued use of counting including manipulatives 1. -
7. Advocating the Poetics of Sound in the Cycle Les Nuits D´Été by Hector Berlioz
DOI: 10.2478/RAE-2018-0007 Review of Artistic Education no. 15 2018 59–73 7. ADVOCATING THE POETICS OF SOUND IN THE CYCLE LES NUITS D´ÉTÉ BY HECTOR BERLIOZ Loredana Viorica Iațeșen52 Abstract: By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera. Key words: romantic composer, orchestral lied, text-sound relationship, critical reception 1. Introduction 1.1. Les Nuits d'été, Possible Meanings of the Title Unlike other works by Hector Berlioz, there is little documentary information about this ensemble of six poems on music entitled Les Nuits d'été, on the lyrics of Théophile Gautier. -
Gesualdo Madrigaux Livre I Solistes Des Arts Florissants Paul Agnew
AMPHITHÉÂTRE – CITÉ DE LA MUSIQUE Gesualdo Madrigaux Livre I Solistes des Arts Florissants Paul Agnew Mardi 23 octobre 2018 – 20h30 Concert enregistré par France Musique. Ce concert est diffusé en direct sur le site internet live.philharmoniedeparis.fr où il restera disponible pendant 4 mois. PROGRAMME Carlo Gesualdo (1566-1613) Ne reminiscaris Domine Luzzasco Luzzaschi (1545-1607) Dolorosi martir, fieri tormenti Claudio Monteverdi (1567-1643) Baci soavi, e cari Luca Marenzio (1553-1599) Baci soavi, e cari (Prima parte) Baci amorosi, e belli (Seconda parte) Baci affamati, e ‘ngordi (Terza parte) Baci cortesi, e grati (Quarta parte) Baci, ohimè, non mirate (Quinta & ultima parte) Carlo Gesualdo Tribulationem et dolorem Hei mihi domine Luca Marenzio Tirsi morir volea (Prima parte) Frenò Tirsi il desio (Seconda parte) Così moriro i fortunati amanti (Terza parte) 3 Benedetto Pallavicino (1551-1601) Tirsi morir volea (Prima parte) Frenò Tirsi il desio (Seconda parte) Così moriro i fortunati amanti (Terza parte) ENTRACTE Carlo Gesualdo Baci soavi e cari Quant’ha di dolce Amore (Seconda parte) Madonna, io ben vorrei Com’esser può ch’io viva se m’uccidi? Gelo ha Madonna il seno, e fiamma il volto Mentre Madonna il lasso fianco posa Ahi, troppo saggia nell’errar (Seconda parte) Se da sì nobil mano Amor, pace non chero (Seconda parte) Sì gioioso mi fanno i dolor miei O dolce mio martire Tirsi morir volea Frenò Tirsi il desio (Seconda parte) Mentre, mia stella, miri Non mirar, non mirare Questi leggiadri odorosetti fiori Felice primavera Danzan -
Gesualdo Paul Agnew Madrigali Libri Primo & Secondo FRANZ LISZT CARLO GESUALDO (1566-1613) Madrigali a Cinque Voci
Les Arts Florissants Gesualdo Paul Agnew MADRIGALI LIBRI PRIMO & SECONDO FRANZ LISZT CARLO GESUALDO (1566-1613) MADRIGALI A CINQUE VOCI CD 1 Libro primo (Ferrara, 1594) 1 | Baci soavi, e cari. Giovanni Battista Guarini. Rime amorose Prima parte 2 | Seconda parte: Quant’ha di dolce Amore 2’31 3 | Madonna, io ben vorrei. Incerto MA, MR, SC, PA, EG 3’00 4 | Com’esser può ch’io viva se m’uccidi? Incerto MA, HM, MR, PA, EG 2’12 5 | Gelo ha Madonna il seno. Torquato Tasso, Rime HM, MR, PA, SC, EG 2’07 6 | Mentre Madonna il lasso fianco posa. Torquato Tasso, Rime MA, MR, SC, PA, EG 2’14 Prima parte 7 | Seconda parte: Ahi, troppo saggia nell’errar. 2’10 8 | Se da sì nobil mano. Torquato Tasso, Rime HM, MR, PA, SC, EG 1’54 Prima parte 9 | Seconda parte: Amor, pace non chero 1’27 10 | Sì gioioso mi fanno i dolor miei. Luigi Cassola HM, MA, MR, SC, EG 2’44 11 | O dolce mio martire. Incerto MA, MR, SC, PA, EG 2’27 12 | Tirsi morir volea. Battista Guarini, Rime HM, MR, PA, SC, EG 2’19 Prima parte 13 | Seconda parte: Frenò Tirsi ’l desio 2’45 14 | Mentre, mia stella, miri. Torquato Tasso MA, MR, SC, PA, EG 2’16 15 | Non mirar, non mirare. Filippo Alberti MA, HM, MR, PA, EG 2’21 16 | Questi leggiadri odorosetti fiori. Livio Celiano (alias Angelo Grillo) HM, MR, PA, SC, EG 2’50 17 | Felice primavera. Torquato Tasso MA, MR, SC, PA, EG 1’32 Prima parte 18 | Seconda parte: Danzan le ninfe honeste, e i pastorelli 1’26 19 | Son sì belle le rose. -
Level 1 UPDATED July 2020 Performance Theory Ear Training Sight Reading Technique
Level 1 UPDATED July 2020 Performance Theory Ear Training Sight Reading Technique AIM Syllabus Level 1 - Page 1 2020 Copyright UMTA AIM Syllabus – May be copied by UMTA Members for their personal use only Level 1 PERFORMANCE Performance pieces must be original keyboard compositions and must be played FROM MEMORY. TWO pieces are required, ideally each from a different composer and contrasting in style, although no points will be deducted for playing pieces from the same book. Both pieces must be memorized in their entirety and be a minimum of 8 measures in length. The adjudicator will listen for a musical performance that includes dynamics and control of legato or staccato touch. Students must bring original music for the adjudicator. PLEASE HAVE MEASURES NUMBERED. Authorized photocopies are acceptable, if they are accompanied by a permission form signed by the publisher, an authorized copy with the student or parent’s name or a studio license authorization. Public domain copies downloaded from sites such as IMSPL.org, should have the name of the website written on the copy. Students without music or with unauthorized photocopies will be allowed to perform but will not receive a score. The following are NOT acceptable: Duets or ensemble numbers Simplified arrangements of orchestral or other piano pieces Movie Themes Popular/Commercial songs David Lanz, Yanni, Enya, George Winston, Billy Joel Student Compositions A transcription not currently accepted as a part of the standard repertoire The following are acceptable: New Age/Contemporary Composers Jon Schmidt, Jason Tonioli, Paul Cardall, Michael Hicks Music will be held to high performance standards and must be played as written on the music, not as performed by the composer. -
Newsletter.05
College of L e t t e r s & S c i e n c e U n i v e r s i t y D EPARTMENT o f of California B e r k e l e y MUSIC IN THIS ISSUE Alumni Newsletter S e p t e m b e r 2 0 0 5 September 2005 D EAR A LUMNI AND F RIENDS , Note from the Chair reetings to all from the PEOPLE 1–3Update on the last 4 years GUniversity of California, ince the last newsletter, Wye Allanbrook Berkeley, Department of Music, Scompleted her term as department chair, Centenary Celebration this year celebrating our 100th having contributed enormous effort on 100 years of music at Cal birthday! (See article below.) behalf of the new Hargrove Music Library 1, 8–9 This newsletter has always Bonnie Wade building. For the past two years, she has Faculty News Creative accomplishments, been intended as an occasional publication been a Fellow at the National Humanities honors & awards, new to bring to you news of the department. Center in North Carolina. She returns to 4arrivals– Melford6 & Midiyanto For comprehensive details and regular teaching in the 2005–06 academic year. updates please visit our websites: http:// In fall 2003, Allanbrook was succeeded music.berkeley.edu (department); www. by Anthony Newcomb, who served as Gifts to the Department lib.berkeley.edu/MUSI (music library); and department chair for two years. After a 6 www.cnmat.berkeley.edu (Center for New long and distinguished career as teacher Music and Audio Technologies, CNMAT). -
Louise Bertin (1805-1877)
1/6 Data Louise Bertin (1805-1877) Pays : France Langue : Français Sexe : Féminin Naissance : Bièvres (Essonne), 15-01-1805 Mort : Paris, 6e arrondissement (France), 26-04-1877 Note : Musicienne, compositeur d'opéras et poète ISNI : ISNI 0000 0001 2138 2579 (Informations sur l'ISNI) Louise Bertin (1805-1877) : œuvres (53 ressources dans data.bnf.fr) Œuvres musicales (53) "Si la mort est le but. CG 439" La Esmeralda (1866) (1836) de Charles Gounod avec Louise Bertin (1805-1877) comme Auteur du texte Le loup-garou Reviens !. Piano (1827) Ah, dors en paix, mon bel enfant Voir plus de documents de ce genre data.bnf.fr 2/6 Data Documents sur Louise Bertin (1805-1877) (8 ressources dans data.bnf.fr) Livres (5) Louise Bertin, , Pierrette Germain-David, Louise Bertin and opera in , Denise Lynn Boneau, compositrice, amie de Michèle Friang, Sampzon : Paris in the 1820s and [Chicago (Ill.)] : [D. L. Victor Hugo Éditions Delatour France , 1830s Boneau] , [1990] (2019) DL 2019 (1990) Catalogue des livres de , Paris : M. A. Aubry , 1877 [Recueil. Dossiers , Antoine de Latour littérature et d'histoire la biographiques Boutillier du (1808-1881), Paris : Le plupart bien reliés par Retail. Documentation sur Correspondant : Les Débats Simier, Koehler, etc. Louise Bertin] , 1876-1936 composant la bibliothèque (1876) de feu Mlle Louise Bertin... (1877) [Recueil. Dossiers , Gaëtan Picon biographiques Boutillier du (1915-1976), Édouard Retail. Documentation sur Grenier (1819-1901), Jean Victor Hugo] Monfisse [et autre(s)], Paris (1840) : Au bureau -
The Missing Saxophone Recovered(Updated)
THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C.