| 216.302.8404 “An Early Music Group with an Avant-Garde Appetite.” — the New York Times
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Adjunct-Faculty-Reference-Guide
D J U N C T F A C U L T Y R E F E R E N C E G U I D E i VISION 2020 PRIORITY 1 Student completion for academic and career success is the first priority of Lorain County Community College’s strategic vision, Vision 2020. LCCC’s focus on student success is part of a national effort that includes LCCC students, faculty and staff, community members, partner institutions and educational partners across the country. Supporting LCCC’s Priority 1 are the following strategies and interventions: Reduce Time and Cost to Completion Blend Educational Continuum to reduce the time and cost to earn a degree or credential (i.e., Early College High School, MyUniversity, University Partnership, Competency- Based Education, Prior Learning Assessment). Coach Every Student for Success Wrap personalized intervention and coaching strategies around every student to map pathway to success to achieve goals. Improve College Readiness Minimize the need for developmental education by partnering with secondary schools; Launch new designs and delivery models to accelerate progression based on students’ needs and abilities. Enhance Student Learning Leverage innovative teaching models, adaptive learning technologies, contextualized learning and different delivery methods to help meet diverse student learning needs. Develop Structured Pathways to In-Demand Careers and Employers Raise awareness of in-demand careers, related educational programs, help students identify and persist in a career pathway that includes real-world experience and connection to employers with jobs. Engage More Adult Learners Develop programs, services and outreach services and delivery models that engage more adult learners in our community. -
Table 7-1 French Opera Repertory 1753–62
1 Table 12-1 French Opera Repertory 1753–63 (with Court performances of opéras- comiques in 1761–63) See Table 1-1 for the period 1742–52. This Table is an overview of commissions and revivals in the elite institutions of French opera. Académie Royale de Musique and Court premieres are listed separately for each work (albeit information is sometimes incomplete). The left-hand column includes both absolute world premieres and important earlier works new to these theatres. Works given across a New Year period are listed twice. Individual entrées are mentioned only when revived separately, or to avoid ambiguity. Prologues are mostly ignored. Sources: BrennerD, KaehlerO, LagraveTP, LajarteO, Lavallière, Mercure, NG, RiceFB, SerreARM. Italian works follow name forms etc. cited in Parisian libretti. LEGEND: ARM = Académie Royale de Musique (Paris Opéra); bal. = ballet; bouf. = bouffon; CI = Comédie-Italienne; cmda = comédie mêlée d’ariettes; com. lyr. = comédie lyrique; d. gioc.= dramma giocoso; div. scen. = divertimento scenico; FB = Fontainebleau; FSG = Foire Saint-Germain; FSL = Foire Saint-Laurent; hér. = héroïque; int. = intermezzo; NG = The New Grove Dictionary of Music; NGO = The New Grove Dictionary of Opera; op. = opéra; p. = pastorale; Vers. = Versailles; < = extract from; R = revised. 1753 ALL AT ARM EXCEPT WHERE MARKED Premieres at ARM (listed first) and Court Revivals at ARM or Court (by original date) Titon & l’Aurore (p. hér., 3: La Marre, Voisenon, Atys (Lully, 1676) FB La Motte / Mondonville, Jan. 9) Phaëton (Lully, 1683) Scaltra governatrice, La (d. gioc., 3: Palomba / Fêtes Grecques et romaines, Les (Blamont, 1723) Cocchi, Jan. 25) Danse, La (<Fêtes d’Hébé, Les)(Rameau, 1739) FB Jaloux corrigé, Le (op. -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Toccata Classics TOCC0052 Notes
RAMEAU ON THE PIANO, VOLUME THREE 1 by Graham Sadler The two suites recorded on this disc are from the Nouvelles suites de pièces de clavecin of 1729 or 1730, Rameau’s final collection of solo keyboard music.2 Like those of his Pièces de clavessin (1724), they are contrasted both in tonality and character. The Suite in A minor and major is dominated by dances and includes only three character pieces, whereas the Suite in G major and minor consists almost exclusively of pieces with character titles. In its make-up if not its style, the latter thus follows the example of François Couperin, whose first three books of pièces de clavecin (1713, 1717 and 1722) had established the vogue for descriptive pieces. In that sense, Rameau may be regarded as somewhat conservative in devoting half of his two mature solo collections to suites of the more traditional type. Suite No. 4 in A minor and major Conservative they may be, but the dance movements of the Nouvelles suites are among the most highly P developed in the repertory, the first two particularly so. The Allemande 1 unfolds with an effortless grace, its unerring sense of direction reinforced by the many sequential passages. At the end of both sections, the duple semiquaver motion gives way unexpectedly to triplet motion, providing a memorable ‘rhyme’ to the two parts of the movement. The Courante 2, more than twice as long as its predecessors in Rameau’s output, displays a technical sophistication without parallel in the clavecin repertory. Three themes interlock in mainly three- part counterpoint – a bold motif in rising fourths, and two accompanying figures in continuous quavers, the one in sinuous stepwise movement, the other comprising cascading arpeggios. -
MOZARTEUM BAROQUE MASTERCLASSES Concerto Degli
International Festival & Summer Academy 2021 60 CONCERTI, FOCUS SU STEVE REICH con Salvatore Accardo · Antonio Pappano · Lilya Zilberstein · Ilya Gringolts Patrick Gallois · Alessandro Carbonare · David Krakauer · Antonio Meneses DavidSABATO Geringas · Bruno 4 SETTEMBRE Giuranna · Ivo Nilsson - ORE· Mathilde 21,15 Barthélémy AntonioCHIESA Caggiano ·DI Christian S. AGOSTINO, Schmitt · Clive Greensmith SIENA · Quartetto Prometeo Marcello Gatti · Florian Birsak · Alfredo Bernardini · Vittorio Ghielmi Roberto Prosseda · Eliot Fisk · Andreas Scholl e tanti altri e con Orchestra dell’Accademia di Santa Cecilia · Orchestra della Toscana Coro Della Cattedrale Di SienaCHIGIANA “Guido Chigi Saracini - MOZARTEUM” . BAROQUE MASTERCLASSES 28 CORSI E SEMINARI NUOVA COLLABORAZIONEConcerto CON degli Allievi CHIGIANA-MOZARTEUM BAROQUE MASTERCLASSES docenti ANDREAS SCHOLL canto barocco MARCELLO GATTI flauto traversiere ALFREDO BERNARDINI oboe barocco VITTORIO GHIELMI viola da gamba FLORIAN BIRSAK clavicembalo e basso continuo maestri collaboratori al clavicembalo Alexandra Filatova Andreas Gilger Gabriele Levi François Couperin Parigi 1668 - Parigi 1733 da Les Nations (1726) Quatrième Ordre “La Piemontoise” Martino Arosio flauto traversiere (Italia) Micaela Baldwin flauto traversiere (Italia / Perù) Laura Alvarado Diaz oboe (Colombia) Amadeo Castille oboe (Francia) Alice Trocellier viola da gamba (Francia) Raimondo Mazzon clavicembalo (Italia) Georg Friedrich Händel Halle 1685 - Londra 1759 da Orlando (1733) Amore è qual vento Rui Hoshina soprano (Giappone) -
Download Discantus Artistic Projects
SPEEDMEETINGS SUBSCRIPTION FORM COMPANY : Ensemble Discantus / Centre de musique médiévale de Paris Brigitte LESNE (in french and spanish, available until 15:00) Anne PIFFARD (English), Alain GENUYS (French) e-mail : [email protected] - tél : 0033 1 45 80 74 49 Describe your company in a few words : Discantus is women vocal ensemble that brings alive the vocal repertoire, primarily sacred, of the Middle Ages from the first Western musical notation of the 9th century up to the 15th century. Founded in 1989 under the direction of Brigitte Lesne, it brings together passionate singers from diverse backgrounds capable of adopting a vocal style appropriate to the medieval repertoire, uniting unique individual timbres to form a coherent ensemble sound. Since the 2000’s, Discantus’ handbells became like the "signature" of the ensemble. Invited to the most prestigious festivals, Discantus performs regularly in France, in Western, Central and Eastern Europe (Croatia, Slovenia, Slovakia, Hungary, Poland) and as far as Fes in Morocco, Beyrouth in Lebanon, New York, Perth, and also in Colombia. The 13th recording, "the Argument of Beauty" (sacred polyphonies by Gilles Binchois, at æon recordings) was rewarded as 2010 best recordings of the year by Le Monde newspaper. In 2014, « Music for a King » - also by æon – alternates 11th century repertoire with two pieces commissioned to young composers using texts of Boethius. Discantus keeps enlarging it's repertoire with two new programs incorporating typical medieval stringed instruments (harp, hurdy-gurdy, psaltery, fiddle) played by the singers themselves: "A path to the field of stars, pligrim's songs" and "Santa Maria, At the court of Alfonso el Sabio". -
BH Program FINAL
MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council. -
Download Booklet
95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’. -
Cpo 555 156 2 Booklet.Indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau
Jean-Philippe Rameau Pigmalion · Dardanus Suites & Arias Anders J. Dahlin L’Orfeo Barockorchester Michi Gaigg cpo 555 156_2 Booklet.indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau cpo 555 156_2 Booklet.indd 2 12.06.2020 09:36:39 Jean-Philippe Rameau (1683–1764) Pigmalion Acte-de-ballet, 1748 Livret by Sylvain Ballot de Sauvot (1703–60), after ‘La Sculpture’ from Le Triomphe des arts (1700) by Houdar de la Motte (1672–1731) (selected movements: Suite & Arias) 1 Ouverture 4'41 2 [Air,] ‘Fatal Amour’ (Pigmalion) 3'22 3 Air. Très lent – Gavotte gracieuse – Menuet – Gavotte gai – Chaconne vive – 5'44 Loure – Passepied vif – Rigaudon vif – Sarabande pour la Statue – Tambourin 4 Air gai 2'19 5 Pantomime niaise 0'44 6 2e Pantomime très vive 2'07 7 Ariette, ‘Règne Amour’ (Pigmalion) 4'35 8 Air pour les Graces, Jeux et Ris 0'50 9 Rondeau Contredanse 1'37 cpo 555 156_2 Booklet.indd 3 12.06.2020 09:36:39 Dardanus Tragedie en musique, 1739 (rev. 1744, 1760) Livret by Charles-Antoine Leclerc de La Bruère (1716–54) (selected movements: Suite & Arias) 10 Ouverture 4'13 11 Prologue, sc. 1: Air pour les [Jeux et les] Plaisirs [et la Jalousie et sa Suite] 1'06 12 Air pour les [Jeux et les] Plaisirs 1'05 13 Prologue, sc. 2: Air gracieux [pour les Peuples de différentes nations] 1'30 14 Rigaudon 1'41 15 Act 1, sc. 3: Air vif 2'46 16 Rigaudons 1 et 2 3'36 17 Act 2, sc. 1: Ritournelle vive 1'08 18 Act 4, sc. -
Akron General Medical Center, Goodwill Industries, and the Canton Repository
2011 Stark County Collaborative Poll Prepared for: Stark County Health Needs Assessment Committee Prepared by: The Center for Marketing and Opinion Research (CMOR) www.CMOResearch.com (330) 564-4211 Office Research Funded by: TABLE OF CONTENTS Page Executive Summary 3 Survey Questions 11 Survey Results 14 Overall needs and health 14 General health 19 Access to care 21 Exercise 29 Smoking/tobacco, alcohol, and prescription drug use 32 Obesity and access to healthy food 42 Immunizations 49 Texting and driving 52 APPENDIX A: Survey Results by Race 54 APPENDIX B: Survey Results by Location 66 APPENDIX C: Survey Results by Income 70 APPENDIX D: Quality of Life 74 APPENDIX E: Demographic Information 83 APPENDIX F: Research Methodology 104 2 Center for Marketing and Opinion Research 2011 Stark Poll- Stark County Health Needs Assessment Executive Summary The Stark County Health Needs Assessment Committee asked a series of questions as part of the 2011 Stark County Health Needs Assessment on the Stark County Collaborative Poll. The Stark County Health Needs Assessment Committee’s involvement with the 2011 Stark Poll was funded by Alliance Community Hospital, Aultman Health Foundation, and Mercy Medical Center and was coordinated by the Stark County Health Department. The questions focused on the following areas: overall needs and health, general physical and mental health, access to care, immunizations, smoking and tobacco use, alcohol consumption, prescription medication abuse, obesity and access to healthy food, exercise and texting while driving. Where possible, comparative data from previous Stark Poll administrations are included throughout the analysis. Overall Needs and Health First, all respondents were asked what they thought was the greatest unmet health need in Stark County. -
TURKEY APPEALS to POWERS Iiilhhn
Sf From Ban Frantlscol uood Is Wllhilmlim .. Odnb.r S One essential of a.lverllilno Tar Ben Franclseol persistency. by advertising can D merchant Hiitinliiliiti . (Ktnlnr 3 Only From Vancouver. secure wide distribution. Evening Only with wide distribution can h October II Btjbletin Mukurii For Vancouverl maintain low priets and hold the trade. 'hi In ml In OrtnberJ2 3:30 EDITION Publicity Is Purely a Matter of Business ESTABLISHED 1882. No. 5045. 22 PAGES. HONOLULU, TERRITORY OF HAWAII, SATURDAY, SEPTEMBER 30, 1911. 22 PAGES. PRICE 5 CENTS. f TURKEY APPEALS TO POWERS U. S. To AID HER ITALY'S DEADLY ROW ATTENDS OPENING OF COLLEGE BUILDING BIDS Campbell's 1 r . : IATTACK ALREADY ' Scheme Is WINNING THE WAR Beaten I tAasoclnled Press Cable.') pii m:u i;n woitK I y ) ;' TRIPOLI, Turkey, Sept. 30. Turkey hat appealed to the powers. iiilhhn 5 With Italy's twlft attack, already tending the Turkish war vettels to liillllill lln KupTlnli ihIpiiI Miiraton the bottom of the ocean, cut olf from gaining access to her land forces, tho ('iiiiIh-I- I llRiirnl II Empire appealed to tho world powers to Interfere in the fight, Ottoman has first, America has been asked to care for the Turks in Italy as a 7JU, ' " 4iMHHHMHBaanMSMsaanMaMsajsjajS I'niii.iil ei'wir tj skin and to guard them from tho Italians. ntlirrn nflrruninl fj Hoh ! nil of llii.ltli ii nil TRIPOLI, Sept. 30. The bombardment of the fort here has begun by tht S.inlliiry Coi.iiiiIhiiIiiii HRiiriHt It: Viililliiilo llrnl, Inl-li- 'l Italian squadron. COLLEGE1 EXTERIOR VIEW OF NEW OF HAWAII BUILDING, FOR WHICH BIDS WERE OPENED TODAY komuhI. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.