DOCSLIB.ORG

Obligato / Obligé: a Musical Etymology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Obligato / Obligé: A Musical Etymology Suzanne Anita Bratt University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History Commons, and the Music Commons Recommended Citation Bratt, Suzanne Anita, "Obligato / Obligé: A Musical Etymology" (2017). Publicly Accessible Penn Dissertations. 2197. https://repository.upenn.edu/edissertations/2197 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2197 For more information, please contact [email protected]. Obligato / Obligé: A Musical Etymology Abstract ABSTRACT OBLIGATO / OBLIGÉ: A MUSICAL ETYMOLOGY Suzanne Anita Bratt Emily I. Dolan Ask for a definition of the musical term obligat“ o”; receive a different answer from everyone asked. What truth this axiom possesses lies in the multiple meanings acquired by the word during the past four hundred years. The varied definitions that presently circulate – an obligatory musical line, a virtuosic one, a filigree or descant, the use of a specific instrument, the use of organ pedal, the interaction of solo instrument and voice – all convey this complex legacy. Through analyses of music in manuscript, printed scores, and publishing materials, this dissertation concludes that certain meanings of “obligato” are active at different points in the history of Western musicking. Meanings activated by different instruments and in different genres can indicate the places of those instruments within an expected hierarchy, and can create those genres. This dissertation begins by considering certain in consistencies in the use of obligato terminology: situating scholarly discussion of the power of the obbligato violin in “Erbarme dich” alongside Sebastian Bach’s own use of the term. Similarly, Guido Adler’s construction of obligate Akkompagnement as a fundamental compositional principle for the Wiener klassische Schule is analyzed alongside his source for the term: a letter of Beethoven, written to a publisher, planning the appearance of the Septet op. 20. The overview undertaken in this section, of the complex publication history of the Septet, leads to a consideration of changing practices and expectations concerning music in print and manuscript. An analysis of obligato terminology at work in Breitkopf music catalogues locates one source of obligato’s multiple meanings: in the collision of the trio and accompanied sonata genres. Aspects of a voice and an instrument interacting often surface in connection with “obbligato.” This dissertation’s conclusion takes a wide-ranging approach to this phenomenon: analyzing musicologists’s conceptualizing the heard experience of certain arias, musical expectations and structures as embedded in concert practices, and discourses of the supernatural. Thus, a final point of consideration is Rousseau’s r�citatif oblig�: focusing not as much on the people playing the instruments, as on the instruments themselves replying to – and leading – those who sing. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Music First Advisor Emily I. Dolan Keywords 18th century, Bach, Beethoven, Breitkopf, music publishing, obbligato Subject Categories History | Music This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/2197 OBLIGATO / OBLIGÉ: A MUSICAL ETYMOLOGY Suzanne Anita Bratt A DISSERTATION in Music Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2017 Supervisor of Dissertation ______________________________ Emily I. Dolan Gardner Cowles Associate Professor of Music, Harvard University Graduate Group Chairperson ______________________________ Carol Muller, Professor of Music Dissertation Committee Mauro Calcagno, Associate Professor of Music Emma Dillon, Professor of Music, King’s College, London OBLIGATO / OBLIGÉ: A MUSICAL ETYMOLOGY COPYRIGHT 2017 Suzanne Anita Bratt This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 License To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/3.0/us/ iii “You keep using that word. I do not think it means what you think it means.” Inigo Montoya iv ACKNOWLEDGMENTS I owe so many individuals gratitude for their help on this project, and for their believing in me to see it through. First and foremost, I give my most grateful thanks to my advisor, Emily Dolan. This dissertation would not have been completed without her brilliance, her generosity, her knowledge of the field, and her insight into the writing process. As long as I have known her, she has been the model of a scholar, an advisor, and a person. I give special thanks as well to Emma Dillon, who encouraged me to think about voice and instrument interactions via Verdi, in a first-year seminar, and who supported this project from its beginning. Both Emily Dolan and Emma Dillon were, and are, outstanding teachers; my memories of teaching with them are all positive ones. Thanks finally to Mauro Calcagno, for keen insight into issues of performance and for encouragement along the road of this writing process. Additional teachers and mentors outside of my immediate committee influenced my path through graduate school, whether by sparking an interest in part of the field, discussing research ideas, or just plain being inspirational. Thank you to Michael Marissen, Margot Fassler, Christine Blanken, Stephen Crist, and to members of the American Bach Society – and my special thanks to the Bach Colloquium for reading this dissertation’s first chapter in paper form and giving insightful and constructive critique. Thanks, at Penn, to Jeffrey Kallberg, Guthrie Ramsey, Jamuna Samuel, Jairo Moreno, and Carol Muller, for all matter of valuable experiences, ranging from interesting seminars to guidance in teaching. Going further back in time, my most grateful thanks are due to Patrick McCreless, Robert Holzer, Leon Plantinga, Richard Lalli, Robert Mealy, v and Yale Baroque Opera at its very beginning: all for demonstrating scholarship and enthusiasm for learning in action. Even further back: without the musical training given to me by Diane McElfish, Vivian Kleinhuizen, and John Varineau, I would not be where I am today. Thank you all. On the topic of learning: so many excellent discussions were had featuring my fellow students that I could not possibly fit all the names here. I remember talking about this project in its early stages with Lauren Jennings, Emily Zazulia, and Thomas Patteson; working on writing with Brooke McCorkle, Myron Gray, and Neil Crimes; and parachuting in for seminar with Vanessa Williams, Maria Murphy, Charlie Shrader, Carlo Lanfossi, and Tristan Paré-Morin. I thank in particular Lily Kass, for being an indefatigable writing partner; one who always brought cheerful encouragement, alongside enthusiasm for eighteenth century music and culture, to the table. The University of Pennsylvania has provided generous financial support during my graduate career, with its five-year Benjamin Franklin Fellowship. My 2011 travels to Leipzig, Halle (Saale), and London were financed through the Graduate Division of Penn’s School of Arts and Sciences, with a Summer Research Fellowship. I thank Dr. Mary Sue Weber and the Communication Within the Curriculum program for the Critical Speaking Fellowship that allowed me to write while teaching a course and designing a lecture series. A particular resource at UPenn has been superlative during my time here: the library. Thank you, Catherine Rutan, who has helped me with library exigencies of all sorts. Likewise, thank you, John Pollack, for always being ready to share new and vi interesting objects from Rare Books, and for taking an interest in this dissertation. Thanks to Dick Griscom and Liza Vick, finally, for their help at the beginning and end of the dissertation process. Thank you Maryellen Malek, Margaret Smith Deeney, and Alfreda Frazier of the music department, for their help to me at both normal times and crunch times. My students and I are all grateful to you. Without the help of librarians, presses, and administrative staff abroad, the resources for this dissertation would have been far more difficult to corral. Many thanks to Dr. Roland Schmidt-Hensel of the Music Department and Mendelssohn Archive of the Staatsbibliothek zu Berlin, and to Dr. Christiane Hausmann of Bach Digital. I thank Bärenreiter and G. Henle, as well as Dover Publications here at home, for permission to duplicate excerpts from the Matthäus-Passion, Beethoven’s opuses 20 and 38, and the Brook edition of the Breitkopf Thematic Catalogue; thanks as well to Katharina Malecki, Kristina Winter, and Susan Barell, respectively, for expediting the request process. Finally, thank you, Chris Rawlings of the British Library, Ilse Kosz of the Gesellschaft der Musikfreunde in Wien, and Kristina Funk-Kunath of the Bach Archive, for expeditious help in reproducing images, whether for my research or for inclusion in this dissertation. I value my Penn community network for many reasons; chief among which is the camaraderie found at work between colleagues and friends. I especially thank my supervisors at the Graduate Student Center: Dr. Anita Mastroieni, Shaina Adams El- vii Guabli, DeAnna Cheung, and Jessica Bolker. Madeleine Wilcox has been a firm friend through the ups and downs of event
Recommended publications
  • Enovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and Audio Files Are Found in the Media Playlist at the Bottom of Each Lesson Page

    Enovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and Audio Files Are Found in the Media Playlist at the Bottom of Each Lesson Page

    P a g e | 1 eNovation 8: Chord Shapes, Shifts, and Progression NOTE: Video and audio files are found in the media playlist at the bottom of each lesson page. eNovation 8 Overview Summary: In eNovation 8 the focus is on recognition and secure performance of commonly found chord shapes and facility in moving between these different shapes Goals on the keyboard. The theoretical understanding of primary chords is emphasized so that students can quickly play chords, harmonize melodies, and realize lead sheets. Key Elements: • Technique: Chord Shapes: 5/3, 6/3, 6/4, 6/5 • Technique: Chordal Shifts and Progressions I, IV6/4, V6/3 and I, IV6/4, V6/5 • Reading: Chords and Inversions • Rhythm: Sixteenth Notes in Compound Meters • Theory: Inversions / Slash Chord Notation • Cadences: I – V7 • Styles: Broken Chord, Alberti Bass, Waltz Bass, Polka, Keyboard Style Go to eNovation 8 Topic Page Topic 1: Introduction to Chord Shapes and Inversions / Sixteenth Notes in Compound Meter Lesson Goals In this eNovation, students learn the 'feel’ of the different chord shapes and to quickly and comfortably shift between them. They will learn how the figured bass symbols for chords and inversions assist in reading and playing chords by shape. Students will also develop understanding of structure, content and fingerings for the different chord inversions. Activity Type / Title with Links Instructions/Comments ☐ Video Inversion Fingerings Watch instructional video Chord inversions have a distinctive shape on the staff and keyboard which Chord Shapes and Figured Bass Inversion determines its figured bass designation. ☐ Theory Symbols (Video and Flashcards) Watch the video: Chord Shapes and Figured Bass Inversion Symbols, then drill with the video flashcards.
  • Breathtaking-Program-Notes

    Breathtaking-Program-Notes

    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
  • THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To

    THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To

    Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13.
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    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.
  • Hilbert Circle Theatre

    Hilbert Circle Theatre

    HILBERTCIRCLETHEATRE KRZYSZTOFURBAŃSKI MUSIC DIRECTOR | JACKEVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. proto ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community.
  • Rehearing Beethoven Festival Program, Complete, November-December 2020

    Rehearing Beethoven Festival Program, Complete, November-December 2020

    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
  • 9914396.PDF (12.18Mb)

    9914396.PDF (12.18Mb)

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
  • Johann Sebastian Bach's Kreuzstab Cantata

    Johann Sebastian Bach's Kreuzstab Cantata

    Johann Sebastian Bach’s Kreuzstab Cantata (BWV 56): Identifying the Emotional Content of the Libretto Georg Corall University of Western Australia Along with numerous other music theorists of the eighteenth century, Johann Joachim Quantz compares an expressive musical performance to the delivery of a persuasive speech by a distinguished orator. For a successful rhetorical delivery of the music of that period, however, today’s musicians not only need to study the score of a work, but they also need to analyse the words of the vocal parts. In the present case study, Johann Sebastian Bach’s cantata BWV 56, generally known as the Kreuzstab Cantata, will be investigated in view of its libretto’s emotional message, and how it should affect an audience. The secondary literature, which generally ties an understanding of suffering, cross-bearing and an almost suicidal component to the anonymous poet’s text, will be reviewed. In particular the term Kreuzstab, its meaning, and its emotional affiliation will be scrutinized. The Doctrine of the Affections (Affektenlehre) and the Doctrine of the Musical-Rhetorical Figures (Figurenlehre) both provide modern-day performers with the necessary tools for a historically informed performance of the music of Bach’s time and will help to identify the emotions of Bach’s work. Informed by these doctrines, as well as through the distinct definition of the term Kreuzstab, the new understanding of Bach’s Cantata BWV 56 will require modern-day performers to contemplate a new approach in their aim of a persuasive delivery in a performance. The analysis of the words of BWV 56 certainly allows for a hopeful and happy anticipation of the salvation rather than a suicidal ‘yearning for death’.
  • Franz Schubert: Inside, out (Mus 7903)

    Franz Schubert: Inside, out (Mus 7903)

    FRANZ SCHUBERT: INSIDE, OUT (MUS 7903) LOUISIANA STATE UNIVERSITY, COLLEGE OF MUSIC & DRAMATIC ARTS FALL 2017 instructor Dr. Blake Howe ([email protected]) M&DA 274 meetings Thursdays, 2:00–4:50 M&DA 273 office hours Fridays, 9:30–10:30 prerequisite Students must have passed either the Music History Diagnostic Exam or MUS 3710. Blake Howe / Franz Schubert – Syllabus / 2 GENERAL INFORMATION COURSE DESCRIPTION This course surveys the life, works, and times of Franz Schubert (1797–1828), one of the most important composers of the nineteenth century. We begin by attempting to understand Schubert’s character and temperament, his life in a politically turbulent city, the social and cultural institutions that sponsored his musical career, and the circles of friends who supported and inspired his artistic vision. We turn to his compositions: the influence of predecessors and contemporaries (idols and rivals) on his early works, his revolutionary approach to poetry and song, the cultivation of expression and subjectivity in his instrumental works, and his audacious harmonic and formal practices. And we conclude with a consideration of Schubert’s legacy: the ever-changing nature of his posthumous reception, his impact on subsequent composers, and the ways in which modern composers have sought to retool, revise, and refinish his music. COURSE MATERIALS Reading assignments will be posted on Moodle or held on reserve in the music library. Listening assignments will link to Naxos Music Library, available through the music library and remotely accessible to any LSU student. There is no required textbook for the course. However, the following texts are recommended for reference purposes: Otto E.
  • Music Or the Vocabulary of Music Transcript

    Music Or the Vocabulary of Music Transcript

    Music or The Vocabulary of Music Transcript Date: Tuesday, 29 October 2002 - 12:00AM Music or the Vocabulary of Music Professor Piers Hellawell When I hear the phrase 'now that's what I call music', I feel nothing less than a huge pang of envy. This has been tempered by the sloganising of this phrase, which now acts as a parody of its previous self, but even in its parodic version it reminds us of a nostalgic certainty, about what music is and where it lives, that as a composer I can never enjoy and which, for me, is in fact a total fiction. I am less and less sure what it is that I call music (although, of course, I know when I hear it). The starting point for this year's lectures is therefore the absence of any global or historical consensus about what we call music, a confusion that has served the art very well over many hundreds of years. Through this year I shall be looking at what music is, how we present it and how it has changed. In my second talk I will even admit to doubts as to whether it exists at all, on the grounds that it is continually being mislaid: does it live in its score, in a recording, in a box under the stairs, in a drawer? Where did we put it? I said that confusion about all this has served music well; this is because as a species we are incurable control-freaks, who cannot help trying to reduce our world to properties that we can bend into service.
  • View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927

    View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927

    J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
  • Perform with Us—Music, Theatre, and Dance at Drexel

    Perform with Us—Music, Theatre, and Dance at Drexel

    Perform with Us—Music, Theatre, and Dance at Drexel The Department of Performing Arts sponsors a wide range of performing groups open to all Drexel students regardless of major, and over 400 students participate in them every quarter. Each performing group is a variable credit class and can be taken for 1 credit or, if you are on co-op or at the 20 credit maximum, zero credits. Dance Drexel Dance Ensemble (sophomores and above) Dr. Miriam Giguere <[email protected]> A professional caliber dance company performing ballet, modern, jazz, and hip-hop twice a year in the Mandell Theater. Choreography is by selected students and guest professionals. FreshDance Ensemble (freshmen only) Dr. Miriam Giguere <[email protected]> The freshmen only branch company of the Drexel Dance Ensemble. Gives freshmen an opportunity to perform in the dances of professional choreographers and chosen student repertory in performances twice a year. Youth Performance Exchange Touring Dance Ensemble Olive Prince <[email protected]> A small company of selected students who perform throughout the year in a dance lecture demonstration program for elementary school students in Philadelphia Schools. Theatre Drexel Players—Theatre Troupe Nick Anselmo <[email protected]> The Players present a total of seven shows each year in the Mandell Theater and the Black Box Theater. These include musicals, plays, and a professional show that is part of the Mandell Professionals in Residence Project. Students participate in all aspects of theatre performance and production including: acting, directing, playwriting, design, stage management, costumes, lighting, sets, sound, publicity, and box office. Late Night Series Open Mic Nick Anselmo <[email protected]> A weekly open-mic that strives to both champion and nurture performing artists featuring music, comedy, poetry, drama and more.