Guiomar Novaes - by Emmett M
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The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Perspectives on Rhythm and Timing Glasgow, 19-21 July 2012
Perspectives on Rhythm and Timing Glasgow, 19-21 July 2012 Book of Abstracts English Language University of Glasgow, Glasgow G12 8QQ, U.K. e-mail: [email protected] web: www.gla.ac.uk/rhythmsinscotland Twitter: @RiS_2012 #PoRT2012 The production and perception of English speech rhythm by L2 Saudi Speakers Ghazi Algethami University of York [email protected] Keywords: L2 speech, rhythm, perception, metrics 3. RESULTS AND DISCUSSION 1. INTRODUCTION The listeners were able to differentiate between the One of the major factors that contribute to the perception native and nonnative speakers regardless of the highly of foreign accent in the speech of L2 English speakers is distorted speech. There was a significant correlation the inappropriate use of rhythm [2]. However, it is one between the perceptual ratings and the scores of of the least studied aspects of L2 speech [1]. This is VarcoV, but not %V. mainly because of the elusive nature of speech rhythm, 4. REFERENCES and the lack of consensus among researchers about how to measure it. [1] Crystal, D. (2003). English as a global language (2nd ed.). Cambridge: Cambridge University Press. Recently developed acoustic metrics of speech [2] Gut, U. (2003). Non-native speech rhythm in German. In rhythm have offered a tool for L2 speech researchers to Proceedings of the15th International Congress of Phonetic examine the production of speech rhythm by L2 Sciences (pp. 2437-2439). Barcelona, Spain. speakers. The current study examined the production of [3] White, L., & Mattys, S. (2007a). Calibrating rhythm: First English speech rhythm by L2 Saudi speakers by using a language and second language studies. -
Gaiomar Novaes -A O
INSTRUMENTS o GIMBELS CHESTNUT- MARKET- NINTH- EIGHTH ;la z m o n ;;; JULES FALK o ;la > c ..."' z ...."' a o Presents "'o "'C) ;la,. THE z Q c a.: o o u "'o "'a.: o o ;la r&w~/ I a,. ::t"' z A. <a.: "' C) Gaiomar Novaes -a o . ~ú:~n~ z { ,. o z ::t o A. "' • -a FOR :z: o"' o z z < o -A. G') o ,.;la EVERYTHING -a "'z :z: <C) a.: * "' o ;la Jn Recital m • n MUSICAL o "'o ;llll c Q z <a.: G') • * "' C) -4 "' m z ,.. Q m a.: ACADEMY OF MUSIC < o !!! SEVENTH FLOOR-MARKET STREET BUILDING u o z "'a.: January 28, 1947 RADIO-PHONOGRAPH C OMBINATIONS o ORGANS • PIANOS Çuimnar novaeó lhrilling .. exciting . .. dynamic GüiOMAR NOV AES . Brazil's umphecL In New York shc stuclied priceless 0o· ift to the musical \\orle! . is further \\'ith Sigismunel Stojowski, Po many of lhe slirring songs on lonighl's generally conceel ecl, by aueliences anel Lsh composer-piani st . program by lhe critics ali ke, to be the greatest \\·oman Succeeel ing seasons adeleel a greater p:an ist before the public toclay. cl epth anel maturity to what then T he spark of genius, for genius it is. seem ed to be a nearly perfect art. Soon don cossack chorus apparent w hen l\/[me. Novaes was a she began to be compareci with the young laely of four, was by careful g- reat Teresa Carreno anel recently under lhe brillianl leadership of training anel intell igent applicat:on has. -
Piano Rolls and Contemporary Player Pianos: the Catalogues, Technologies, Archiving and Accessibility
Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility Peter Phillips A Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Historical Performance Unit Sydney Conservatorium of Music University of Sydney 2016 i Peter Phillips – Piano Rolls and Contemporary Player Pianos Declaration I declare that the research presented in this thesis is my own original work and that it contains no material previously published or written by another person. This thesis contains no material that has been submitted to any other institution for the award of a higher degree. All illustrations, graphs, drawings and photographs are by the author, unless otherwise cited. Signed: _______________________ Date: 2___________nd July 2017 Peter Phillips © Peter Phillips 2017 Permanent email address: [email protected] ii Peter Phillips – Piano Rolls and Contemporary Player Pianos Acknowledgements A pivotal person in this research project was Professor Neal Peres Da Costa, who encouraged me to undertake a doctorate, and as my main supervisor, provided considerable and insightful guidance while ensuring I presented this thesis in my own way. Professor Anna Reid, my other supervisor, also gave me significant help and support, sometimes just when I absolutely needed it. The guidance from both my supervisors has been invaluable, and I sincerely thank them. One of the greatest pleasures during the course of this research project has been the number of generous people who have provided indispensable help. From a musical point of view, my colleague Glenn Amer spent countless hours helping me record piano rolls, sharing his incredible knowledge and musical skills that often threw new light on a particular work or pianist. -
Celebrate Beethoven Catalogue Ludwig Van Beethoven (1770–1827)
CELEBRATE BEETHOVEN CATALOGUE LUDWIG VAN BEETHOVEN (1770–1827) Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music. Beethoven’s monumental contribution to Western classical music is celebrated here in this definitive collection marking the 250th anniversary of the composer’s birth. ThisCELEBRATE BEETHOVEN catalogue contains an impressive collection of works by this master composer across the Naxos Music Group labels. Contents ORCHESTRAL .......................................................................................................................... 3 CONCERTOS ........................................................................................................................ 13 KEYBOARD ........................................................................................................................... -
Frédéric Chopin (1810-1849)
EAST-CENTRAL EUROPEAN & BALKAN CONCERTOS From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Frédéric Chopin (1810-1849) Born in Źelazowa Wola, near Warsaw, in what was then the Duchy of Warsaw under Russian rule. A child prodigy, he studied at the Warsaw Lyceum and then the Warsaw Conservatory, where his principal teacher was Józef Elsner, who taught him music theory, figured bass, and composition. At age 20, he left Poland and settled in Paris the following year. In his short life, he secured his place as the world's preeminent composer for the piano. Piano Concerto No. 1 in E minor, Op. 11 (1830) Géza Anda (piano)/Ernest Bour/Southwest German Radio Symphony Orchestra, Baden-Baden (rec. 1952) ( + Brahms: Piano Concerto No. 2, Rachmaninov: Piano Concerto No. 2 and Schumann: Piano Concerto) HANSSLER CLASSIC HAEN 94208 (2 CDs) (2009) Géza Anda (piano)/Alceo Galliera/Philharmonia Orchestra (rec. 1956) ( + Ballade No. 1 and 12 Etudes) TESTAMENT SBT 1066 (1996) (original LP release: COLUMBIA 33C 1057/ANGEL 35631) (1958) Martha Argerich (piano)/Claudio Abbado/London Symphony Orchestra ( + Liszt: Piano Concerto No. 1) DEUTSCHE GRAMMOPHON THE ORIGINALS 449719-2 (1999) (original LP release: DEUTSCHE GRAMMOPHON SLPM 139383) (1968) Martha Argerich (piano)/Charles Dutoit/Montreal Symphony Orchestra (included in collection: "Martha Argerich Edition - Concertos") EMI CLASSICS 94031-2 (4 CDs) (2011) (original CD release: EMI CLASSICS 556798-2 (1999) Martha Argerich (piano)/Jacek Kaspszyk/Orchestra della Svizzera Italiana (included in collection: "Martha Argerich and Friends - Live From Lugano Festival 2010") EMI CLASSICS 70836-2 (3 CDs) (2011) Martha Argerich (piano)/James Levine/London Symphony Orchestra ( + Bartók: Piano Sonata and Schumann: Fantasia, Op. -
NOVAES PIANIST TOWN HALL 113 WEST 43Rd STBEET
GUIO MAR NOVAES PIANIST TOWN HALL 113 WEST 43rd STBEET SATURDAY An'ERNOON FEBRUARY 22nd, 1941 at 3 o'clock On/g :Jown JJa// Jecita/ l~i6 Sea6on P,.og,.am L Two Cborales: • • • • • • • • • BACH Awake. the Voice Commands Joy Be With You Valses • • • • • • • • • • • BRAHMS Sonata m D minor. Opus 31. No. 2 • • • BEETHOVEN 11. Sonata m B minor. Opus 58 ••• CHOPIN IIL Six Brazilian Folksongs • • • TRADMONAL r • Improviso • • • • • • • • OCI"AVIO PINTO The Tbree Mary Stars • • • • • • • • • • • • • VILLA-LOBOS Alnitah Alnilan Mintika Triana • • •• ALBÉNIZ Evocation •• ALBÉNIZ STEINWAY PIANO COLUMBIA RECORDS Tic:kets: $2.20, $1.85, Sl.IO; Logea (aeatiDg aix.)$16.50 Management: COLUMBIA CONCERTS CORPORATION of Columbia Broadcasting Syatem Diviaion: HAEHSEL & JONES 113 Weat 57th Street Mew York City "1 GUIOMAR NOVAE S ONE OF THE WORLD'S GREA TEST PIANISTS HOCH AUDITORIUM Monday. MARCH 10th. at 8:20 P.M. Tickets. $2.00, $1.50, $1.00 plus state tax On sale at K. U. School of Fine Arts Office, Round Corner Drug Co., Bell Music Co. Send mail orders to D. M. Swarthout, Dean, School of Fine Arts University of Kensas, Lawrence, Kansas Presented by O. M. Swarthout, Manager STEJNWAY PIANO COLUMBIA RECORDS Manac;rement: HAENSEL & JONES, 113 West 57th Street, New York Diviaion: Columbia Concerta Corporation of Columbia Broadcastinq Svstem ., GUIOMAR NOVAES The legend of Guiomar Novaes has become a reality for America. Her amazing art has grown apace with the present years of her ma.turity. She weaves an exotic spell ·like an enchanted visitor from the strangeness of the tropic forests of her native Brazil. -
Boston Symphony Orchestra Concert Programs, Season 69
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burr COPYRIGHT, 195O, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [841] ^^^i"... -nS to erv/n,y going ourPrro PCrty ghat's AT L °W coST J! to happen ,iiiim,i "••Hit Property?! Your &.. ShawrnC'"u tBank his booklet shows how the Personal Trust Department of the Shawmut Bank can help you in the management of your property during your own lifetime, as well as providing for its future conser- vation. One important section explains the "When and Why" of the "Living Trust", and other Shawmut aids in property management and super- vision are also reviewed. Whether your resources are large or small, you should know the facts set forth in this booklet. Call at any of our 28 conve?iient offices, write or telephone LA 3-6800 for our booklet: ^Conserving Your Property at Low Cost" The Rational Shawmut Bank 40 Water Street, Boston Member Federal Deposit Insurance Corporation Capital and Surplus $30,000,000 "Outstanding Strength" for 114 Years **& [842] SYMPHONIANA The Berkshire Festival CJiandlanaier s Tremont and West Streets The St. -
Download Booklet
111120_bk_WomenPno.qxd 3/13/06 3:45 PM Page 12 Women at the Piano - Volume 2 (Naxos 8.111121) features 20 pianists: 8.111120 Ania Dorfmann (1899-1982) Great Pianists Marie Anne Warrot (1915-1971) ADD Blanche Selva (1884-1942) Ginette Doyen (1921-2002) Johanne Amalie Stockmarr (1869-1944) WOMEN AT THE PIANO Olga Samaroff (1882-1948) France Marguerite Ellegaard (1913-1999) An Anthology of Historic Performances Claudette Sorel (1932-1999) Madeleine de Valmàlete (1899-1999) Volume 1 Muriel Kerr (1911-1963) Yolanda Merö (1887-1963) Kathleen Long (1896-1968) Lubka Kolessa (1904-1997) Elsie Hall (1879-1976) Raie Da Costa (1905-1934) Galina Werschenska (1906-1994) Irene Scharrer (1888-1971) Ellen Ballon (1898-1969) Lili Kraus (1903-1986) and Leah Effenbach (1915-1978) 8.111120 12 111120_bk_WomenPno.qxd 3/13/06 3:45 PM Page 2 Women at the Piano Vol. 1 Producers’ Note An Anthology of Historic Performances 1926-1952 This is the first of what is projected to be an extended multi-compact disc series chronicling the recorded artistry of the pioneering women pianists of the first half of the twentieth century. Anthologies of this nature are difficult to Monique de la BRUCHOLLERIE (1915-1972) assemble, for they pose not only musical problems but also sonic challenges. In this first volume, we assembled 22 1 Camille Saint-Saëns: Toccata d’après le 5e concerto, (Étude), Op. 111, No. 6 3:06 different women pianists, playing on 22 different pianos, 22 different compositions, recorded in 22 different (HMV DA1888 (OEA 12444-2) • Recorded in London, 22 October 1947 venues, at 22 different times, between 1926 and 1952. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beil & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9227212 A study of Chopin’s Piano Sonata No. 3 in B minor, Op. 58, with suggestions for performance Dhuvabhark, Janida, D.M.A. -
The Reception of Women Pianists in London, 1950-60
City Research Online City, University of London Institutional Repository Citation: Lim, Lemy Sungyoun (2010). The Reception of Women Pianists in London, 1950-60. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1210/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Reception of Women Pianists in London, 1950-60 Volume I Lemy Sungyoun Lim Ph. D in Music Department of Music City University, London September 2010 Table of Contents List of Illustrations iv Abstract v Preface vi Introduction 1 Chapter 1. The Subject of Women and the Piano: an introduction 16 This study and its predecessors 18 Gender study as critical musicology 21 Women and the piano: a critical history 25 Music as a profession: the mid-nineteenth century to the 1920s 29 First-wave feminism and the Society of Women Musicians 35 Two British women pianists: Arabella Goddard (1836-1922) and Fanny Davies (1861-1934) 38 London concert life: the late-nineteenth century to the 1930s 41 Chapter 2. -
Attitudes and Thoughts on Tone Quality in Historic Piano Teaching Treatises Jeongsun Lim University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 2018 Attitudes And Thoughts On Tone Quality In Historic Piano Teaching Treatises Jeongsun Lim University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Pedagogy Commons Recommended Citation Lim, J.(2018). Attitudes And Thoughts On Tone Quality In Historic Piano Teaching Treatises. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5024 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. ATTITUDES AND THOUGHTS ON TONE QUALITY IN HISTORIC PIANO TEACHING TREATISES by Jeongsun Lim Bachelor of Music Kwandong University, 1994 Master of Music University of South Carolina, 2001 Master of Music University of South Carolina, 2003 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Piano Pedagogy School of Music University of South Carolina 2018 Accepted by: Scott Price, Major Professor Charles Fugo, Committee Member Sara Ernst, Committee Member Ana Dubnjakovic, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Jeongsun Lim, 2018 All Rights Reserved. ii DEDICATION To my mother. iii ACKNOWLEDGEMENTS I would like to recognize and thank all of the members of my committee, Dr. Scott Price, Dr. Charles Fugo, Dr. Sara Ernst, and Dr. Ana Dubnjakovic, for their suggestions and comments. My sincere gratitude goes to my mother who always have been supportive and encouraging for the duration of my doctoral studies.