Election by Lot at Athens
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Romantic Listening Key
Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
January – February 2018 Concert Diary
JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts. -
The Politics of Domestic Authority in Britain Since 1800 Also by Lucy Delap
The Politics of Domestic Authority in Britain since 1800 Also by Lucy Delap DOMESTIC SERVICE IN TWENTIETH CENTURY BRITAIN: Culture, Memory, Emotions THE FEMINIST AVANT-GARDE: Transatlantic Encounters of the Early Twentieth Century ANTI-FEMINISM IN THE VICTORIAN AND EDWARDIAN DEBATE (with Valerie Sanders) FEMINISM AND THE PERIODICAL PRESS 1900–1918 (with Leila Ryan and Maria Dicenzo) ANTI-FEMINISM IN EDWARDIAN LITERATURE (with Ann Heilmann) The Politics of Domestic Authority in Britain since 1800 Edited by Lucy Delap Fellow and Director of Studies in History, St Catharine’s College, Cambridge Ben Griffin Fellow and Director of Studies in History, Girton College, Cambridge, and Lecturer in History, Fitzwilliam College, Cambridge and Abigail Wills Postdoctoral Fellow in History, Brasenose College, Oxford Selection, editorial matter and introduction © Lucy Delap, Ben Griffin and Abigail Wills 2009 All remaining chapters © their respective authors 2009 Softcover reprint of the hardcover 1st edition 2009 978-0-230-57994-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. -
Schubert Heidenroslein for Voice and Guitar Sheet Music
Schubert Heidenroslein For Voice And Guitar Sheet Music Download schubert heidenroslein for voice and guitar sheet music pdf now available in our library. We give you 1 pages partial preview of schubert heidenroslein for voice and guitar sheet music that you can try for free. This music notes has been read 4060 times and last read at 2021-09-29 19:49:24. In order to continue read the entire sheet music of schubert heidenroslein for voice and guitar you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Classical Guitar, Guitar Tablature, Soprano Voice, Voice Solo Ensemble: Musical Ensemble Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar sheet music has been read 5237 times. Heidenroslein franz schubert 1797 1828 for voice and classical guitar arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 10:15:42. [ Read More ] Schubert Heidenroslein A Major Schubert Heidenroslein A Major sheet music has been read 2674 times. Schubert heidenroslein a major arrangement is for Beginning level. The music notes has 3 preview and last read at 2021-09-26 11:45:01. [ Read More ] Schubert Des Baches Wiegenlied For Voice And Guitar Schubert Des Baches Wiegenlied For Voice And Guitar sheet music has been read 2630 times. Schubert des baches wiegenlied for voice and guitar arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-29 18:17:29. -
2020 - 2021 Season Digital Concert Hall
2020 - 2021 SEASON DIGITAL CONCERT HALL Schubert TABLE OF CONTENTS SCHUBERT I. Die schöne Müllerin II. Nacht Bonus Concert III. Winterreise IV. Liebe V. Schwanengesang NEW VOICES FESTIVAL: Past/Present/Future I. II. III. TICKETING INFORMATION Schubert FOR ITS 11TH SEASON, Brooklyn Art Song Society celebrates the legacy of the first and greatest composer of Lieder. Six programs of over 100 songs show the brilliance, emotional breadth, and profound beauty of Schubert’s musical voice. TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, OCTOBER 10TH, 2020 | 7:30 PM Schubert One Die schöne Müllerin This groundbreaking story-in-song is a touching meditation on young love and heartbreak – a landmark in the history of Lieder. Franz Schubert: Die schöne Müllerin D. 795 TICKETS & DETAILS » Tyler Duncan, baritone; Erika Switzer, piano AVAILABLE FOR STREAMING SATURDAY, NOVEMBER 14TH, 2020 | 7:30 PM Schubert Two Nacht For Schubert, Night was at once a place of terror and wonder, of passion and repose, and the inspiration for some of his greatest songs. Franz Schubert: Selected songs including Wilkommen und Abschied, Daniel McGrew, Joseph Tancredi, tenor; Die Sterne, and Der Erikönig Mario Diaz-Moresco, Jorell Williams, baritone; Spencer Myer, Michael Brofman, piano TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, DECEMBER 12TH, 2020 | 7:30 PM Schubert Bonus Concert This program includes some of Schubert's greatest hits not featured on the mainstage series. Tickets are pay what you will. Franz Schubert: Selected songs including Ave Maria, Die Forelle, and Auf dem Wasser du singen Sarah Craft Nelson, mezzo soprano; Nils Neubert, tenor; TICKETS & DETAILS » Nana Shi, piano AVAILABLE FOR STREAMING SATURDAY, JANUARY 16TH, 2021 | 7:30 PM Schubert Three Winterreise Schubert's magnum opus is a profound statement on loneliness and human suffering. -
Heidenroslein Franz Schubert 1797 1828 for Voice and Classical Guitar Sheet Music
Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar Sheet Music Download heidenroslein franz schubert 1797 1828 for voice and classical guitar sheet music pdf now available in our library. We give you 6 pages partial preview of heidenroslein franz schubert 1797 1828 for voice and classical guitar sheet music that you can try for free. This music notes has been read 5237 times and last read at 2021-09-29 10:15:42. In order to continue read the entire sheet music of heidenroslein franz schubert 1797 1828 for voice and classical guitar you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Voice Solo, Piano Accompaniment Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Schubert Heidenroslein For Voice And Guitar Schubert Heidenroslein For Voice And Guitar sheet music has been read 4071 times. Schubert heidenroslein for voice and guitar arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-30 10:04:46. [ Read More ] Der Tod Und Das Mdchen Death And The Maiden Lied By Franz Schubert Voice And Guitar Der Tod Und Das Mdchen Death And The Maiden Lied By Franz Schubert Voice And Guitar sheet music has been read 6755 times. Der tod und das mdchen death and the maiden lied by franz schubert voice and guitar arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-29 23:00:27. [ Read More ] Erlknig Erl King Lied Song By Franz Schubert Voice And Guitar Erlknig Erl King Lied Song By Franz Schubert Voice And Guitar sheet music has been read 3598 times. -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
Cambridge University Reporter Special Number 3
SPECIAL NO. 3] OFFICERS NUMBER–MICHAELMAS TERM 2000 45 PA RT I I MEMBERS OF UNIVERSITY BODIES NOMINATING AND APPOINTING BODIES: ABBREVIATIONS C University Council CSHSS Council of the School of CST Council of the School of CSAH Council of the School of Humanities and Social Technology Arts and Humanities Sciences FC Finance Committee of the CSBS Council of the School of CSPS Council of the School of Council the Biological Sciences the Physical Sciences GB General Board of the Faculties Faculty Boards etc., as follows: AA Archaeology and ESG Earth Sciences and Mus Music Anthropology Geography OS Oriental Studies AHA Architecture and History HPS History and Philosophy of PC Physics and Chemistry of Art Science, Board of Phil Philosophy Biol Biology Hst History SPS Social and Political Cl Classics Law Law Sciences Div Divinity Math Mathematics Vet Clinical Veterinary Educ Education Med Clinical Medicine Medicine Engg Engineering MML Modern and Medieval X Co-opted, or appointed Engl English Languages by the body concerned EP Economics and Politics SEPTEMVIRI Prof. A. W.Cuthbert, F, Prof. P. Goddard, JN, Lady Perry, LC, ; Prof. J. H. Baker, CTH,(Chairman) , Dr C. H. Kelsey, G, Prof. Dame Gillian Beer, CLH, Prof. W.A. Brown, DAR, . COURT OF DISCIPLINE To Dec. Panel (a) Panel (b) Panel (c) Prof. W.R. Cornish, M Dr Y.M. Cripps, EM Ms H. E. Bromley, G Lord Goodhart, T, Chairman Dr J. C. D. Hickson, PEM Mr L. J. Burnett, F Mr A. D. Lemons, HH Ms U. Clifford, CL Dr R. C. Love, R Mr B. P.Corlett, JN Dr G. -
Rules & Regulations
22 – 29 September 2022 THE SCHUBERT EDITION Rules & Regulations 1. General Conditions 2. Important Dates 1.1 The Schubert edition of the Liszt Competition Utrecht April 1, 2021 will take place at TivoliVredenburg in Utrecht, the Nether- Start application submission lands, from 22 to 29 September. July 1, 2021 Early bird deadline application submission 1.2 The Liszt Competition is organized by the Liszt Competition Foundation. The board of the Foundation is September 1, 2021 represented in all cases by the executive director. Deadline application submission October 22, 2021 1.3 The official language of the Liszt Competition is Announcement of the participants of the English. Basic understanding of the English language is live selection round required from the applicants. January 6-9, 2022 Live selection round 1.4 The Liszt Competition is open to professional pia- nists of all nationalities who are at least 20 years and January 9, 2022 maximum 31 years of age at the end of the Competition Announcement of the participants of the (i.e. 29 September 2022). Exempted from this rule are festival round participants of the cancelled 2020 Beethoven Edition. June 1, 2022 Commissioned work provided to pianists 1.5 The Liszt Competition strives to be an objective event and thus requires from all participants and jury June 27-29, 2022 members to avoid conflicts of interests. The Liszt Com- The academy petition should be notified during the application if the July 1, 2022 applicant has been taught on a regular basis by any of Deadline for repertoire and order the jury members. -
SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert’S Lieder
SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert's Lieder by Dylan J. Nagler '14 submitted in partial fulfillment of the requirements for an AB degree with honors in Computer Science and Music Departments of Computer Science and Music Harvard College March 3, 2014 ABSTRACT This paper compares various methods for automated musical analysis, applying machine learning techniques to gain insight about the Lieder (art songs) of com- poser Franz Schubert (1797-1828). Known as a rule-breaking, individualistic, and adventurous composer, Schubert produced hundreds of emotionally-charged songs that have challenged music theorists to this day. The algorithms presented in this paper analyze the harmonies, melodies, and texts of these songs. This paper begins with an exploration of the relevant music theory and ma- chine learning algorithms (Chapter 1), alongside a general discussion of the place Schubert holds within the world of music theory. The focus is then turned to automated harmonic analysis and hierarchical decomposition of MusicXML data, presenting new algorithms for phrase-based analysis in the context of past research (Chapter 2). Melodic analysis is then discussed (Chapter 3), using unsupervised clustering methods as a complement to harmonic analyses. This paper then seeks to analyze the texts Schubert chose for his songs in the context of the songs' relevant musical features (Chapter 4), combining natural language processing with feature extraction to pinpoint trends in Schubert's career. Table of Contents Chapter 1{Introduction A Brief Explanation of Tonal Harmony . 4 Hierarchical Musical Analysis . .6 Descriptive Theories of Schubert's Harmony . 9 A Primer on Machine Learning Algorithms . -
THE SORCERER's APPRENTICES: AUTHORSHIP and SOUND AESTHETICS in WALT DISNEY's FANTASIA by Daniel Fernandez a Thesis Submitted
THE SORCERER’S APPRENTICES: AUTHORSHIP AND SOUND AESTHETICS IN WALT DISNEY’S FANTASIA by Daniel Fernandez A Thesis Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Masters of Arts Florida Atlantic University Boca Raton, FL May 2017 Copyright by Daniel Fernandez 2017 ii ACKNOWLEDGEMENTS I would like to thank my committee members for all of their guidance and support, especially to my advisor Anthony Guneratne for his helpful suggestions during the writing of this manuscript. I am also grateful to a number of archival collections, particularly those of Yale University for providing me with some of the primary sources used for this manuscript. Likewise, I would like to acknowledge Stephanie Flint for her contribution to the translation of German source material, as well as Richard P. Huemer, Didier Ghez, Jennifer Castrup, the Broward County Library, the University of Maryland, the Fales Library at New York University, and Zoran Sinobad of the Library of Congress, for the advice, material assistance, and historical information that helped shape this project. iv ABSTRACT Author: Daniel Fernandez Title: The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia Institution: Florida Atlantic University Thesis Advisor: Dr. Anthony Guneratne Degree: Masters of Arts in Communications Year: 2017 This thesis makes three claims new to the critical literature on Walt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements.