Spring 2009 WEKA News Newsletter of the Western Early Keyboard Association
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Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Alumnews2007
C o l l e g e o f 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 o f C a l i f o r n i a 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 7 1–2 Special Occasions Special Occasions CELEBRATIONS 2–4 Events, Visitors, Alumni n November 8, 2006, the department honored emeritus professor Andrew Imbrie in the year of his 85th birthday 4 Faculty Awards Owith a noon concert in Hertz Hall. Alumna Rae Imamura and world-famous Japanese pianist Aki Takahashi performed pieces by Imbrie, including the world premiere of a solo piano piece that 5–6 Faculty Update he wrote for his son, as well as compositions by former Imbrie Aki Takahashi performss in Hertz Hall student, alumna Hi Kyung Kim (professor of music at UC Santa to honor Andrew Imbrie. 7 Striggio Mass of 1567 Cruz), and composers Toru Takemitsu and Michio Mamiya, with whom Imbrie connected in “his Japan years.” The concert was followed by a lunch in Imbrie’s honor in Hertz Hall’s Green Room. 7–8 Retirements Andrew Imbrie was a distinguished and award-winning member of the Berkeley faculty from 1949 until his retirement in 1991. His works include five string quartets, three symphonies, numerous concerti, many works for chamber ensembles, solo instruments, piano, and chorus. His opera Angle of 8–9 In Memoriam Repose, based on Wallace Stegner’s book, was premeiered by the San Francisco Opera in 1976. -
Interaction and Cognition in the Orchestra
Situated, embodied, distributed: interaction and cognition in the orchestra Katharine Louise Nancy Parton Submitted in total fulfilment for the requirements of the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts The University of Melbourne Abstract The orchestral ensemble exists as a group of people who come together to prepare for public performance of music and has done so for several hundred years. In this thesis I examine the interactions which occur during this process in a current day professional orchestra. My focus is on analysing how members of the orchestra, the orchestral organisation and the conductor use their bodies, artefacts, time and space. My approach to examining these behaviours is informed by social interaction methodologies and theories of distributed cognition. Chapter 5 presents an ethnographic account of the construction of space and delineation of time for rehearsal. I examine how the City Symphony Orchestra (CSO) and their management use both space and time to prioritise and privilege the work of the orchestra. Chapter 6 focuses on conductor gestures and I use this analysis to argue that the gestures are complex with components occurring simultaneously as well as sequentially. I argue that conductor gesture creates its own context as it is deployed interactionally and is deeply embedded within social and cultural context. I use the theory of composite utterances to demonstrate that conductor gesture is more than a simple single sign per semantic unit. Chapter 7 considers how orchestral musicians organise their cognition within the physical and social environment of the rehearsal. I show that orchestral musicians distribute their cognition across their bodies, other interactants and culturally constructed artefacts. -
French Musical Broadcasting in 1939 Through a Comparison Between Radio-Paris and Radio-Cité Christophe Bennet
French Musical Broadcasting in 1939 through a Comparison between Radio-Paris and Radio-Cité Christophe Bennet To cite this version: Christophe Bennet. French Musical Broadcasting in 1939 through a Comparison between Radio-Paris and Radio-Cité. 2015. hal-01146878 HAL Id: hal-01146878 https://hal.archives-ouvertes.fr/hal-01146878 Submitted on 6 May 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French Musical Broadcasting in 1939 – PLM – Christophe Bennet – May 2014 FRENCH MUSICAL BROADCASTING IN 1939 THROUGH A COMPARISON BETWEEN RADIO-PARIS AND RADIO-CITÉ by Christophe BENNET THE year 1939 leads us to conclude the annual panorama of the French musical broadcasting of the thirties, a panorama organized through the prism of two big stations of the public and private networks. We have seen that in 1938, while the influence of the Government was weighing even more on the public stations (without any improvement of the programs), the commercial stations, strengthened by several years of experience, were adapting their program schedules in accordance with the success of their new formulas. By responding to the expectations of their audience, those stations continue their action in 1939. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
Interpreting Musical Structure Through Choreography in Gershwin's
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music. -
Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music Hannah Bosma
Document generated on 09/25/2021 8:20 a.m. Intersections Canadian Journal of Music Revue canadienne de musique Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music Hannah Bosma In and Out of the Sound Studio Article abstract Volume 26, Number 2, 2006 This essay explores the possibilities and limitations of an écriture féminine musicale in electroacoustic music. Theories by Cox, Dame, and Citron about URI: https://id.erudit.org/iderudit/1013229ar "women's music" are discussed alongside research on women electroacoustic DOI: https://doi.org/10.7202/1013229ar composers by McCartney and Hinkle-Turner, and analyses of works by Rudow, Isadora, and LaBerge. The operation of gendered musical categories is See table of contents analysed in the appropriation of Cathy Berberian's "voice" by Berio. Strategies for destabilizing historically gendered categories in music are discussed, including feminine/feminist content, composer-performers, interdisciplinarity, and collaboration. The interdisciplinary character of many women's work may Publisher(s) hamper its documentation and thus its survival. The author's research at Canadian University Music Society / Société de musique des universités NEAR/Donemus focuses on this problem. canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Bosma, H. (2006). Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music. Intersections, 26(2), 97–117. https://doi.org/10.7202/1013229ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2007 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Chicago Symphony Orchestra JEAN MARTINON, Conductor
1967 Eighty-ninth Season 1968 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor First Concert Eighty-ninth Annual Choral Union Series Complete Series 3585 Forty-first program in the Sesquicentennial Year of The University of Michigan Chicago Symphony Orchestra JEAN MARTINON, Conductor SUNDAY AFTERNOON, OCTOBER 1, 1967, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "Ciaconna" .. BUXTEHUDE-CHAVEZ Concerto for Trumpet in D major TELEMANN Adagio Allegro Grave Allegro ADoLPH HmsETlI, Trumpet Symphony No.7 (world premiere) ROGER SESSIONS (Commissioned by The University of Michigan for its Sesquicentennial Year) Allegro con fuoco Lento e dolce Allegro misurato-Tempo 1, ma impetuoso; Epilogue: Largo INTERMISSION Suite, N obilissima visione HINDEMITH Introduction and Rondo March and Pastorale Passacaglia La Valse RAVEL A R S LON G A V I T A BREVIS PROGRAM NOTES "Ciaconna" (transcribed by Carlos Chavez) DIETRICH BUXTEHUDE The Ciaconna, or Chaco nne, which is identical with the Passacaglia, originated as a device in which a passage was continually repeated in a composition, usually in the same part. It should also be pointed out that the Chaco nne was used as a dance form, more particularly in the theater. The Chaconne that is performed on this occasion is a transcription for orchestra by Chavez of one originally composed for organ by Dietrich Buxtehude. The work, in E minor, is scored for two piccolos, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, four trumpets, three trombones, tuba, five kettledrums and strings. FELIX BOROWSKI Concerto for Trumpet in D major GEORG PHILIPP TELEMANN George Philipp Telemann (1681-1767), a contemporary of Bach and Handel, was a renowned figure in the musical life of his time, in his way as famous as Handel in his, and far more widely known than Bach. -
Perspectives on Memory for Musical Timbre
Perspectives on Memory for Musical Timbre Kai Kristof Siedenburg Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, Canada March 2016 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2016 Kai Siedenburg 2016/03/29 bong bing bang bung bäng für Eliza ii Contents Abstract/Résumé .................................. vi Acknowledgments ................................. x Contribution of authors .............................. xii List of Figures ................................... xvii List of Tables .................................... xx List of Acronyms .................................. xxi 1 Introduction 1 1.1 Ideas and questions ............................. 1 1.2 Methods ................................... 8 1.3 Thesis outline ................................ 9 I Background 13 2 Three conceptual distinctions for timbre 15 2.1 Introduction ................................. 15 2.2Soundeventvs.timbre........................... 16 2.3 Qualitative vs. source timbre ........................ 18 2.4 Timbre on different scales of detail .................... 19 2.5 Conclusion .................................. 21 3 A review of research on memory for timbre 23 3.1 Introduction ................................. 23 3.2 Basic concepts in memory ......................... 25 3.3 Key findings in auditory memory ..................... 28 Contents iii 3.3.1 Auditory sensory memory ..................... 29 3.3.2 Memory for noise ......................... -
Historical Performance Practice of the Prélude
HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE Ariana Jane Odermatt Australian National University A thesis submitted for the partial fulfilment of the requirements of the degree of Master of Philosophy, School of Music, The Australian National University. © Copyright by Ariana Jane Odermatt 2018 All Rights Reserved 1 Unless otherwise acknowledged in the text, this thesis represents the original research of the author SIGNED: ........................................... DATE: ............................................... 2 HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE ABSTRACT ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’ (François Couperin: L'art de toucher Le Clavecin, 1716)1 The enigmatic prélude non mesuré was a short-lived genre characterised by rhythmically free croches blanches (‘flagged white notes’, rather than white quavers)2 and sweeping lines and slurs that were generally notated without specific reference to rhythm or metre. Some of the lines appear to bind the tones into harmonic groups and to articulate cadential and rhythmic units, but the inherent freedom encoded in the notation presents a broad, complex interpretive scope to present-day performers. Given composers' scant written and notational indications as to how they intended the works to be performed, this research seeks to address ways of interpreting the genre in an informed historical sense, whilst surveying current performing practices within Louis Couperin’s Prélude non mesuré in D minor to inform the author’s own performance. Extant préludes non mesurés are contained within two manuscript sources (Parville and Bauyn), while commentary addressing performance interpretation of the notation is limited to three source documents specifically referencing the prélude non mesuré: Nicolas Lebègue’s preface to his Pièces de clavessin (1677), correspondence between Lebègue and an Englishman called Mr. -
December 5, 2008
DORDT UNIVERSITY MUSIC CAMPUS BAND CHAMBER ORCHESTRA WIND SYMPHONY Onsby Rose, Conductor Carrie Groenewold, organ Friday, April 30, 2021 7:30 p.m. B.J. Haan Auditorium Program To support the concentration of the performers and as a courtesy to your fellow audience members, please silence your cell phone and refrain from flash photography and the use of light-emitting devices. Welcome and Opening Prayer Reverend Aaron Baart, Chief of Staff & Dean of Chapel CAMPUS BAND March in F (1809/1905) LUDWIG VAN BEETHOVEN (1770-1827) ED. PATRICK DUNNIGAN March in F was written between 1809 and 1810 for "his Royal Highness Archduke Anton." It exists in two versions: with and without a trio. It is one of several ceremonial marches that Beethoven composed during this period. Perhaps the greatest compliment that this music ever has received during its long life came from Paul Hindemith, who in 1946 used the delightful first theme as the basis for his second movement, Geschwindmarsch, in a larger orchestral work called Symphonia Serena, a fitting tribute to wonderfully simple music of timeless quality. – taken from widrep.org Prelude on a Gregorian Tune (1981) DAVID MASLANKA (1943-2017) The tune which inspired the Prelude on a Gregorian Tune originated in the Liber Usualis, the traditional book of words and music for Christian services. The music is from a short Responsory with the words “Christ, Son of the Living God, Have mercy on us.” Prelude on a Gregorian Tune evokes the ancient Christian mysticism as found in the music and words of Gregorian chants. This mild and harmonious work is a non-sectarian piece, which emerges as a small ritornello form, ababa. -
Davitt Moroney, Harpsichord 14
CAL PERFORMANCES PRESENTS PROGRAM A Saturday, October 24, 2009, 8pm Hertz Hall 13. Prelude and Fugue in F-sharp major, bwv 858 Davitt Moroney, harpsichord 14. Prelude and Fugue in F-sharp minor, bwv 859 harpsichord by John Phillips (Berkeley, 1995), 15. Prelude and Fugue in G major, bwv 860 after the historical instrument in the Musée instrumental, Citée de la Musique, Paris, 16. Prelude and Fugue in G minor, bwv 861 built by Andreas Ruckers (Antwerp, 1646), rebuilt by François-Étienne Blanchet (Paris, 1756) and Pascal Taskin (Paris, 1780) 17. Prelude and Fugue in A-flat major, bwv 862 18. Prelude and Fugue in G-sharp minor, bwv 863 19. Prelude and Fugue in A major, bwv 864 20. Prelude and Fugue in A minor, bwv 865 PROGRAM 21. Prelude and Fugue in B-flat major,bwv 866 22. Prelude and Fugue in B-flat minor,bwv 867 Johann Sebastian Bach (1685–1750) 23. Prelude and Fugue in B major, bwv 868 24. Prelude and Fugue in B minor, bwv 869 Das Wolhtemperirte Clavier (“The Well-Tempered Clavier”), bwv 846–893 Book 1 (1722) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. 1. Prelude and Fugue in C major, bwv 846 2. Prelude and Fugue in C minor, bwv 847 3. Prelude and Fugue in C-sharp major, bwv 848 4. Prelude and Fugue in C-sharp minor, bwv 849 5. Prelude and Fugue in D major, bwv 850 6. Prelude and Fugue in D minor, bwv 851 Sightlines 7. Prelude and Fugue in E-flat major,bwv 852 8.