DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date: 26-May-2010 I, Seon Hee Jang , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Flute It is entitled: Interpretation of Extended Techniques in Unaccompanied flute Works by East-Asian Composers: Isang Yun, Toru Takemitsu, and Kazuo Fukushima Student Signature: Seon Hee Jang This work and its defense approved by: Committee Chair: Bradley Garner, DMA Bradley Garner, DMA 6/6/2010 541 Interpretation of Extended Techniques in Unaccompanied Flute Works by East- Asian Composers: Isang Yun, Toru Takemitsu, and Kazuo Fukushima A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music by Seon Hee Jang 18 May 2007 B.M., Ewha Womans University, 2001 M.M., Ewha Womans University, 2003 Advisor: Bradley Garner, D.M.A. Abstract Extended flute techniques include many different ways of producing non-traditional sonorities and effects on the flute and have been an important compositional staple of Avant- garde composers in the twentieth century. While many of these techniques developed exclusively within the Western tradition, many others derived from influence of non-Western flute traditions. Three East-Asian composers, Isang Yun (1917–1995), Toru Takemitsu (1930–1996), and Kazuo Fukushima (b.1930), contributed to this performance practice style by drawing from the flute traditions of their cultures. By focusing on the unaccompanied solo flute works of these three composers, this document will demonstrate many of the important applications of extended flute techniques in the twentieth century present their East-Asian influences and provide performance suggestions for this repertoire. ii Copyright k 2010 by Seon Hee Jang All rights reserved iii Acknowledgments I would like to gratefully acknowledge the support of my committee, friends, and family throughout this project. My advisor and flute teacher, Bradley Garner, D.M.A., has supported my entire musical life in Cincinnati. His creative and flexible approach enabled me to go beyond my initial expectations of this research and numerous hours of flute study with him and his advice were essential to my life. The members of my document committee, Jeongwon Joe, Ph.D., and Sandra Rivers, M.S., made suggestions that were central to the whole process and their insightful comments were essential to my final version. Many thanks go to Myung- Ja Moon, and Jae-Yu Paeng. Without their endless love and support I would not have made it through my life. My colleague and friend, Ellis Anderson, contributed countless hours of editing and revising the whole process. His help and consistent support were essential to this final version. I express my deepest gratitude to Ki-Jong Soh, for his undying support, love, and faith in me. Last, but not least, I thank my parents, Yong-Geun Jang and Hye-Ja Cho, and my grandmother, Soon-Ae Moon who taught me to strive for excellence, for supporting everything throughout my life. Without their endless love and support, I would not have as much to look forward to in my life to come. iv Table of Contents List of figures 2 Introduction 5 Chapter I. Extended Flute Techniques in Twentieth-Century Music 8 Chapter II. Yun, Takemitsu, and Fukishima and the Influence of East-Asian Flutes 30 Chapter III. Extended Techniques in the Solo Flute Works of Isang Yun 42 Performance Guideline for Etudes 51 Performance Guideline for Salomo 54 Performance Guideline for Sori 56 Performance Guideline for Chinesische Bilder 59 Chapter IV. Extended Techniques in the Solo Flute Works of Toru Takemitsu 60 Performance Guideline for Voice 65 Performance Guideline for Itinerant 69 Performance Guideline for Air 72 Chapter V. Extended Techniques in the Solo Flute Works of Kazuo Fukushima 73 Performance Guideline for Requiem 76 Performance Guideline for Mei 78 Performance Guideline for Shun-san 81 Conclusion 82 Bibliography 83 List of figures Ex.1-1. Vibrato notations from Isang Yun’s Images für Flöte, oboe,violin und violoncello 11 Ex.1-2. Takemitsu’s vibrato notation and his Air for flute, mm.48–50 12 Ex.2. Etudes. Allegretto, mm.68–70 14 Ex.3. Whistle tone in Itinerant, system 12 15 Ex.4. Itinerant, system 7–8 16 Ex.5. Notation for Jet Whistle 17 Ex.6. Shun-San. System 2 18 Ex. 7. Voice, system 8 19 Ex.8. Etudes, Adagio, mm.49–52 20 Ex.9. Etudes, Adagio, mm.49–54 21 Ex.10. Etudes, Allegretto, mm.32–33 22 Ex.11-1. Etudes, Adagio, mm.74–87 23 Ex.11-2. Multiple sounds fingerings for alto flute by Yun 24 Ex.12-1. Etudes, Andante, mm.46–48 24 Ex.12-2. Multiple sounds fingerings for bass flute by Yun 24 Ex.13. Voice, Systems 7–9 26 Ex.14. Sori, mm. 73–80 27 Ex.15. Mei, mm.16-17 28 Ex.16. Itinerant, system 4 28 Ex.17. Etudes, Allegro, mm. 38–44 29 Ex.18-1. Court Daegŭm 36 Ex.18-2. Sanjo Daegŭm 36 2 Ex.19. Tungso 37 Ex.20. Shinobue/Komabue/ Kakurabue/Ryūteki/Nohkan 40 Ex.21. Shakuhachi 41 Ex.22-1. Seo Yong-seok ryu Daegŭm sanjo, Jinyangjo movement (Jeongganbo) 44 Ex.22-2. Seo Yong-seok ryu Daegŭm sanjo, Jinyangjo movement (modern notation) 44 Ex.22-3. Changing timbre in Etudes 2nd mvt. mm.1-24 45 Ex.22-4. Yun’s various breathy sound symbols in Etudes 45 Ex.23. Etudes, I. Moderato, mm.78–79 46 Ex.24-1. Etudes, II. Adagio, mm. 67–73 47 Ex.24-2. Special fingerings 47 Ex.25. Etudes, IV. Andante, mm.56–62 48 Ex.26. Etudes, IV. Andante, mm.36–48 49 Ex.27. Etudes, IV. Andante, mm.50–51 49 Ex.28. Etudes, III. Allegro, mm. 38–44 50 Ex.29. Etudes, V. Allegretto, mm. 31–35 50 Ex.30. Etudes,V. allegretto, mm.71–74 50 Ex.31. Salomo, mm.1–5 53 Ex.32. Salomo, mm.16–26 53 Ex.33. Salomo, m.72–73 53 Ex.34. Sori, mm.1–4 55 Ex.35. Sori, mm.73–80 55 Ex.36. Sori, mm.125–26 56 Ex.37. Chinesische Bilder, first mvt. mm.1–6 57 3 Ex.38. Chinesische Bilder, first mvt. mm.51–55 57 Ex.39. Chinesische Bilder, second mvt. mm. 16–20 58 Ex.40. Chinesische Bilder, third mvt. mm. 27–29 58 Ex.41. Chinesische Bilder, fourth mvt. mm. 36–41 58 Ex.42. Voice, system 7–9 63 Ex.43. Voice, notation and playing instructions 64 Ex.44. Voice, end of system 2 65 Ex.45. Itinerant, preface 68 Ex.46. Itinerant, system 7–9 69 Ex.47. Air, mm.19–21 70 Ex.48. Air, m.14 71 Ex.49. Air, m.72 71 Ex.50. Air, mm.89–92 71 Ex.51. Requiem, mm.1–6 75 Ex.52. Requiem, mm.14–18 75 Ex.53. Requiem, mm.25–30 76 Ex.54. Mei, mm.35–36 77 Ex.55. Mei, mm.43–46 78 Ex.56. Mei, mm.49–51 78 Ex.57. Shun-san, system 5 79 Ex.58. Shun-san, inscript 80 4 Introduction The history of the flute is rich with developments in the instrument itself and in techniques used in performance of it. The modern flute was developed by Theobald Boehm (1794–1881), who in 1847 replaced the conical bore with a cylindrical tube, re-created the embouchure hole, and added keys by using longitudinal rod-axels, among other advancements. While the structure and mechanism of the flute has not significantly changed since Beohm’s day, twentieth-century composers and performers have explored many different ways to produce sound with the flute, including pitch bending, microtones, double tremolos, key click, multiphonics, whisper tones, and many others. Flutists use the term, extended techniques, to refer to the myriad of sonorities and effects produced. Extended techniques for the flute are noticeable in the works of many early twentieth- century western composers, such as Varèse, Richard Strauss, Berio, and Messiaen. Since 1950, prominent Asian composers have also contributed many pieces exploiting these techniques and creating new ones. The Korean-German composer, Isang Yun (1917–1995), and the Japanese composers, Toru Takemitsu (1930–1996) and Kazuo Fukushima (b.1930), all won international recognition as avant-garde composers who pioneered eastern sonorities in their western compositions. In their music, these composers drew heavily from the performance practices of the traditional flutes of their respective countries. Yun incorporated techniques of the traditional Korean transverse flute, Daegŭm and the vertical flute, Tungso in his pieces for Western flute. 5 Likewise, pieces by Takemitsu and Fukushima demonstrate the influence of Japanese transverse flutes, the Shinobue, Nohkan, and Ryūtecki, and the vertical flute, Shakuhachi. As a result of drawing from these traditions, these three composers contributed to avant-garde flute playing and undoubtedly their music is now recognized as good examples for tracing extended flute techniques. This document will add to the literature on extended technique as well as contribute to the understanding of the music of Yun, Takemitsu, and Fukushima. It comes from the premise that a large degree of the extended flute techniques appeared as a result of composers drawing from non-Western flute traditions. I will use the unaccompanied works of these composers to show this influence extended flute techniques. The first two chapters present background information and context for the remaining chapters which will analyze specific pieces of Yun, Takemitsu, and Fukushima. I explain the history and development of extended techniques in chapter one with an examination of the general characteristics of each feature and a corresponding musical example that will greatly aid the reader’s understanding of the possibilities available to composers and performers.
Load more

Recommended publications
  • Draft Schedule Revised
    ICMSN/SurreyMAC 2017 Provisional Schedule at 16 June 2017 Monday 11 September 1330–1500 Session 1A Post-tonal form Robert Baker, ‘Progressive Forms: Pitch, Notation, and Time in Two Works by Henri Dutilleux’. Anabel Maler, ‘Hearing Function in Post-Tonal Context’. Cecilia Taher, ‘J.C. Paz’s Concreción: A three-dimensional dynamic form’. Session 1B Following Wagner Charlotte Armstrong, ‘Max Nordau and the diagnosis of musical degeneracy: “unhealthy” music in the operas of Richard Wagner and Franz Schreker’. Peter Atkinson, ‘Dancing Wagnerism: Rutland Boughton’s “Dancing Scenery” and the English Reinvention of the Gesamtkunstwerk’. Malcolm Miller, ‘Wood’s “Wagner – Dreams”: New light on Henry Wood’s orchestration of Träume for violin and orchestra’. 1500–1630 Session 2A China David Ho-Yi Chan, ‘Lingustic Parameters in Contemporary Choral Music’. Cheong Wai-Ling and Hong Ding, ‘Reception of twelve-note music in China — foes turned friends?’ Na Li, ‘Masculinity without men? The multiple gendered images presented by female performers of Northwest Wind’. Session 2B Electronics Nino Auricchio and Paul Borg, ‘New modular instruments and approaches to music generation’. Jo Langton, ‘Musical Analysis of Glass Art Sculptures: The Baschet Brothers’ Sculptures Sonores in the electroacoustic composition of Beatriz Ferreyra’. Laurence Willis, ‘Approaches to Electronics in Haas’s String Quartets No. 4 and No. 7’. 1630–1700 Tea/coffee 1700–1800 Session 3A Schubert Mark Hutchinson, ‘Wandering through history: distorted temporalities in Zender’s Schubert’. Anne Hyland, ‘Rehabilitating Schubert’s Early Sonata Forms: the Overture for String Quintet in C minor, D. 8 and Romantic Form’. Session 3B Feminist perspectives Anna Terzaroli, ‘Teresa Rampazzi, a woman in the Electronic Music’.
    [Show full text]
  • Playing (With) Sound of the Animation of Digitized Sounds and Their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications
    Playing (with) Sound Of the Animation of Digitized Sounds and their Reenactment by Playful Scenarios in the Design of Interactive Audio Applications Dissertation by Norbert Schnell Submitted for the degree of Doktor der Philosophie Supervised by Prof. Gerhard Eckel Prof. Rolf Inge Godøy Institute of Electronic Music and Acoustics University of Music and Performing Arts Graz, Austria October 2013 Abstract Investigating sound and interaction, this dissertation has its foundations in over a decade of practice in the design of interactive audio applications and the development of software tools supporting this design practice. The concerned applications are sound installations, digital in- struments, games, and simulations. However, the principal contribution of this dissertation lies in the conceptualization of fundamental aspects in sound and interactions design with recorded sound and music. The first part of the dissertation introduces two key concepts, animation and reenactment, that inform the design of interactive audio applications. While the concept of animation allows for laying out a comprehensive cultural background that draws on influences from philosophy, science, and technology, reenactment is investigated as a concept in interaction design based on recorded sound materials. Even if rarely applied in design or engineering – or in the creative work with sound – the no- tion of animation connects sound and interaction design to a larger context of artistic practices, audio and music technologies, engineering, and philosophy. Starting from Aristotle’s idea of the soul, the investigation of animation follows the parallel development of philosophical con- cepts (i.e. soul, mind, spirit, agency) and technical concepts (i.e. mechanics, automation, cybernetics) over many centuries.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano
    Written and Recorded Preparation Guides: Selected Repertoire from the University Interscholastic League Prescribed List for Flute and Piano by Maria Payan, M.M., B.M. A Thesis In Music Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved Dr. Lisa Garner Santa Chair of Committee Dr. Keith Dye Dr. David Shea Dominick Casadonte Interim Dean of the Graduate School May 2013 Copyright 2013, Maria Payan Texas Tech University, Maria Payan, May 2013 ACKNOWLEDGEMENTS This project could not have started without the extraordinary help and encouragement of Dr. Lisa Garner Santa. The education, time, and support she gave me during my studies at Texas Tech University convey her devotion to her job. I have no words to express my gratitude towards her. In addition, this project could not have been finished without the immense help and patience of Dr. Keith Dye. For his generosity in helping me organize and edit this project, I thank him greatly. Finally, I would like to give my dearest gratitude to Donna Hogan. Without her endless advice and editing, this project would not have been at the level it is today. ii Texas Tech University, Maria Payan, May 2013 TABLE OF CONTENTS ACKNOWLEDGEMENTS .................................................................................. ii LIST OF FIGURES .............................................................................................. v 1. INTRODUCTION ............................................................................................
    [Show full text]
  • Articulation from Wikipedia, the Free Encyclopedia
    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
    [Show full text]
  • Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
    19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol.
    [Show full text]
  • Unit 10.2 the Physics of Music Objectives Notes on a Piano
    Unit 10.2 The Physics of Music Teacher: Dr. Van Der Sluys Objectives • The Physics of Music – Strings – Brass and Woodwinds • Tuning - Beats Notes on a Piano Key Note Frquency (Hz) Wavelength (m) 52 C 524 0.637 51 B 494 0.676 50 A# or Bb 466 0.717 49 A 440 0.759 48 G# or Ab 415 0.805 47 G 392 0.852 46 F# or Gb 370 0.903 45 F 349 0.957 44 E 330 1.01 43 D# or Eb 311 1.07 42 D 294 1.14 41 C# or Db 277 1.21 40 C (middle) 262 1.27 http://en.wikipedia.org/wiki/Piano_key_frequencies 1 Vibrating Strings - Fundamental and Overtones A vibration in a string can L = 1/2 λ1 produce a standing wave. L = λ Usually a vibrating string 2 produces a sound whose L = 3/2 λ3 frequency in most cases is constant. Therefore, since L = 2 λ4 frequency characterizes the pitch, the sound produced L = 5/2 λ5 is a constant note. Vibrating L = 3 λ strings are the basis of any 6 string instrument like guitar, L = 7/2 λ7 cello, or piano. For the fundamental, λ = 2 L where Vibration, standing waves in a string, L is the length of the string. The fundamental and the first 6 overtones which form a harmonic series http://en.wikipedia.org/wiki/Vibrating_string Length of Piano Strings The highest key on a piano corresponds to a frequency about 150 times that of the lowest key. If the string for the highest note is 5.0 cm long, how long would the string for the lowest note have to be if it had the same mass per unit length and the same tension? If v = fλ, how are the frequencies and length of strings related? Other String Instruments • All string instruments produce sound from one or more vibrating strings, transferred to the air by the body of the instrument (or by a pickup in the case of electronically- amplified instruments).
    [Show full text]
  • AMERICAN ACADEMY in ROME PRESENTS the SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 at VILLA AURELIA Exclusive Concert
    FOR IMMEDIATE RELEASE January 11, 2011 AMERICAN ACADEMY IN ROME PRESENTS THE SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 AT VILLA AURELIA Exclusive Concert Dates in Italy for the Scharoun Ensemble Berlin Courtesy of the Scharoun Ensemble Berlin Rome – The American Academy in Rome is pleased to present a series of three concerts by one of Germany’s most distinguished chamber music ensembles, the Scharoun Ensemble Berlin. Comprised of members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble Berlin specializes in a repertoire of Classical, Romantic, 20th century Modernist, and contemporary music. 2011 marks the third year of collaboration between the Ensemble and the American Academy in Rome, which includes performances of work by current Academy Fellows in Musical Composition Huck Hodge and Paul Rudy, as well as 2009 Academy Fellow Keeril Makan. Featuring soprano Rinnat Moriah, the Ensemble will also perform music by Ludwig van Beethoven, John Dowland, Antonin Dvořák, Sofia Gubaidulina, Heinz Holliger, Luca Mosca, and Stefan Wolpe. The concerts are free to the public and will take place at the Academy’s Villa Aurelia from 14-16 January 2011. Event: Scharoun Ensemble Berlin (preliminary program*) 14 January at 9pm – Ludwig van Beethoven, John Dowland, Huck Hodge, and Stefan Wolpe 15 January at 9pm – Sofia Gubaidulina, Huck Hodge, Heinz Holliger and Keeril Makan 16 January at 11am – Antonin Dvořák, Luca Mosca, and Paul Rudy *subject to change Location: Villa Aurelia, American Academy in Rome Largo di Porta San Pancrazio, 1 Scharoun Ensemble Berlin The Scharoun Ensemble Berlin was founded in 1983 by members of the Berlin Philharmonic Orchestra.
    [Show full text]
  • Syllabus Cambridge IGCSE Music Syllabus Code 0410 For
    www.XtremePapers.com Syllabus Cambridge IGCSE Music Syllabus code 0410 For examination in June 2011 Note for Exams Officers: Before making Final Entries, please check availability of the codes for the components and options in the E3 booklet (titled “Procedures for the Submission of Entries”) relevant to the exam session. Please note that component and option codes are subject to change. Contents Cambridge IGCSE Music Syllabus code 0410 1. Introduction .....................................................................................2 1.1 Why choose Cambridge? 1.2 Why choose Cambridge IGCSE Music? 1.3 Cambridge International Certificate of Education (ICE) 1.4 How can I find out more? 2. Assessment at a glance .................................................................. 5 2.1 Assessment structure 2.2 Examination timing – Important information 3. Aims and assessment objectives ....................................................6 3.1 Aims 3.2 Assessment objectives 4. Assessment in detail .......................................................................8 4.1 Scheme of assessment 4.2 Components: 4.2.1 Component 1: Listening 4.2.2 Component 2: Performing 4.2.3 Component 3: Composing 5. Content of Component 1 ...............................................................14 6. Set works – guidance notes .......................................................... 16 7. Assessment criteria for coursework ..............................................44 7.1 Component 2: Performing 7.2 Component 3: Composing 8. Making and submitting
    [Show full text]
  • Pipa by Moshe Denburg.Pdf
    Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques.
    [Show full text]
  • Glissando Harp Manual
    C A Glissando Harps Manual v 2.0 rev 2.0.0 - Nov. 12th, 2018 Welcome Thank you very much for purchasing Glissando Harps for Kontakt! We hope you’ll make the best out of these carefully crafted Virtual Instruments. A Few Words on the Sounds of Glissando Harps The two harps making up Glissando Harps, Concert and Orchestral, were sampled in two very different venues, with different instruments, players, microphone and preamp setups. This was done on purpose. To put in your hands two complementary instruments, allowing for the best sound to fit many different composing scenarios. For Concert Harp we chose a small live room. For this reason when we set up for the next chapter, Glissando Orchestral Harp, we chose a studio, Sotto Il Mare Recording Studios (near Verona in Italy), famous for their wonderful analog equipment and a resounding live room. This setup allowed us to capture more microphone perspectives than we had for Glissando Concert Harp. So, to sum up: Glissando Harps Glissando Concert Harp Small recording venue, best fit for intimate or in-your-face kind of parts; also good for characterization with additional reverbs and Efx. Three microphone channels: an AB stereo setup with a Schoeps CMC64 matched pair and a Mid-Side setup with Neumann M140 as mid and Royer R121 as side. Glissando Orchestral Harp Large recording venue, perfect when you need to position the harp in an orchestral scenario, both as accompanist and as a soloist. Eight microphone channels, combined in five “movie-city-named” nki instruments. An LCR (wide AB + central mono) with Schopes CMC64 and Soundelux U195, the mono Soundelux U195 by itself, another wide AB with ribbon AEA N22 matched pair.
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]