Verifying Modeling and Audiovisual Stimuli As Strategies for Mastering Guedes Peixoto's Maracatú
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Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life. -
January 20, 2008 2655Th Concert
For the convenience of concertgoers the Garden Cafe remains open until 6:oo pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-sixth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts National Gallery of Art 2,655th Concert Music Department National Gallery of Art Jeni Slotchiver, pianist Sixth Street and Constitution Avenue nw Washington, DC Mailing address 2000b South Club Drive January 20, 2008 Landover, md 20785 Sunday Evening, 6:30 pm West Building, West Garden Court www.nga.gov Admission free Program Heitor Villa-Lobos (1887-1959) Bachianas brasileiras no. 4 (1930-1941) Preludio (Introdu^ao) (Prelude: Introduction) Coral (Canto do sertao) (Chorale: Song of the Jungle) Aria (Cantiga) (Aria: Song) Dansa (Miudinho) (Dance: Samba Step) Francisco Mignone (1897-1986) Sonatina no. 4 (1949) Allegretto Allegro con umore Carlos Guastavino (1912-2000) Las Ninas (The Girls) (1951) Bailecito (Dance) (1941) Gato (Cat) (1940) Camargo Guarnieri (1907-1993) Dansa negra (1948) Frutuoso de Lima Viana (1896-1976) Coiia-Jaca (Brazilian Folk Dance) (1932) INTERMISSION Ferruccio Busoni (1866-1924) The Musician Indian Diary: Book One (Four Studies on Motifs of the Native American Indians) (1915) Pianist Jeni Slotchiver began her formal musical studies at an early age. A He-Hea Katzina Song (Hopi) recipient of several scholarships, she attended the Interlochen Arts Academy Song of Victory (Cheyenne) and the Aspen Music Festival, before earning her bachelor and master of Blue Bird Song (Pima) and Corn-Grinding Song (Lagunas) music degrees in piano performance at Indiana University. -
Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years -
OS COMPOSITORES E SEU TEMPO Normando Carneiro
Normando Carneiro OS COMPOSITORES E SEU TEMPO Normando Carneiro Natal 2018 1 Os Compositores de seu tempo Normando Carneiro Vivaldi, Antonio (1678-1741) Compositor e violinista italiano, o mais influente de sua época. Nasceu em 04/03/1678 em Veneza, estudou com seu pai, violinista na catedral de San Marcos. Ordenou-se sacerdote em 1703, chamavam-no interprete russo (o cura ruivo), e começou a ensinar no Ospedale della Pietá que era um estabelecimento para meninas órfãs. Trabalhou ali como diretor musical até 1740, como professor e compunha concertos e oratórios para os concertos semanais através dos que conseguiu uma fama internacional. A partir de 1713 Vivaldi também trabalhou como compositor e empresário de óperas em Veneza e viajava a Roma, Mantua e outras cidades para supervisionar as representações de suas óperas. Para 1740 entrou ao serviço do corte do imperador Carlos VI em Viena. Faleceu nesta cidade o 28 de julho de 1741. Composições Vivaldi escreveu mais de 500 concertos e 70 sonatas, 45 óperas, música religiosa como o oratório Judithatriumphans (1716), a Glória em re (1708), missas e motetes. Suas sonatas instrumentais são mais conservadoras que seus concertos e sua música religiosa com frequencia reflete o estilo operístico da época e a alternância de orquestra e solistas que ajudou a introduzir nos concertos. Johann SebastianBach, contemporâneo seu, embora algo mais jovem, estudou a obra de Vivaldi em seus anos de formação e de alguns dos concertos para violino e sonatas de Vivaldi só existem as transcrições (em sua maior parte para clavecín) de Bach. 2 Os Compositores de seu tempo Normando Carneiro Johann Sebastian Bach (Eisenach, 21/03/1685 — Leipzig, 28/07/1750) Compositor, cravista, Kapellmeister, regente, organista, professor violinista e violista oriundo do Sacro Império Romano-Germânico, atual Alemanha. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
And Bumba Bois (MA) VIBRANT - Vibrant Virtual Brazilian Anthropology, Vol
VIBRANT - Vibrant Virtual Brazilian Anthropology E-ISSN: 1809-4341 [email protected] Associação Brasileira de Antropologia Brasil Ferreira Albernaz, Lady Selma Gender and musical performance in Maracatus (PE) and Bumba Bois (MA) VIBRANT - Vibrant Virtual Brazilian Anthropology, vol. 8, núm. 1, junio, 2011, pp. 321-354 Associação Brasileira de Antropologia Brasília, Brasil Available in: http://www.redalyc.org/articulo.oa?id=406941911012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Gender and musical performance in Maracatus (PE) and Bumba Bois (MA) Lady Selma Ferreira Albernaz Anthropology Graduate Program – UFPE Resumo Este artigo orienta-se pelas seguintes questões: Quais instrumentos homens e mulheres tocam no maracatu pernambucano e no bumba meu boi maranhense? Como são suas participações no canto e composição das músicas? Que significados e valores dão suporte a estas práticas e como se relacionam com o significado e valor da música nestas duas brincadeiras? Baseia-se em dados de pesquisa de campo, realizada em Recife-PE e São Luís-MA entre 2009/10 e com suporte de investigações de anos anteriores. Constata-se que a performance musical, especialmente instrumentos e canto, classificados como masculinos e femininos, ordena e orienta a inserção de homens e mulheres, concorrendo para a organização e a forma de apresentação dos grupos de maracatu e bumba meu boi. Geram- se hierarquias que justificam poderes diferenciados, dando sustentação a desigualdades nas relações de gênero. -
2021 Audition Requirements
2021 AUDITION REQUIREMENTS In response to the global events of 2020, and our subsequent inability to hold live in-person auditions, Manhattan School of Music will only hold recorded and virtual auditions in 2021. MSM has creatively adapted to offer a modified audition process that will allow our applicants to be fully considered for both admission and scholarship. Below you will find the updated audition requirements for each area. Please read the instructions for your major carefully, and feel free to reach out to the Office of Admissions at [email protected] if you have any questions or concerns about your ability to fulfill these requirements. We look forward to another inspiring audition season! English Assessments All applicants for whom English is not their first language will be contacted to schedule a 30-minute Zoom interview with MSM’s ESL faculty in January and February of 2021. We cannot give our written English Exam online this year, so we strongly recommend that you send TOEFL or IELTS scores to MSM. We would like to consider your test scores along with the results of your 30-minute interviews. Your test scores can be uploaded directly to the application Status Portal. Table of Contents Classical 2 Classical Brass 2 Classical Collaborative Piano 4 Classical Composition 7 Classical Guitar 8 Classical Organ 10 Classical Percussion 11 Classical Piano 13 Classical Strings 14 Classical Voice 18 Classical Woodwinds 19 Jazz Division 24 Musical Theatre 26 Contemporary Performance 27 Orchestral Performance 28 Zukerman Performance 34 CLASSICAL BRASS Audition Format Applicants will submit the required repertoire listed below as separate video recordings by February 1, 2021. -
Information to Users
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 face, 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 affect 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, beginning 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 of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher 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 Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE CELLO AND PIANO WORKS OF CAMARGO GUARNIERI DISSERTATION Presented in Partial Fulfillment for the degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Paulo Cesar Martins Rabelo, B. -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos -
Brazilian Piano Through the Ages
James Madison University JMU Scholarly Commons Senior Honors Projects, 2010-current Honors College Spring 2012 Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences Rebecca Lin Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors201019 Recommended Citation Chen, Rebecca Lin, "Brazilian piano through the ages: A look at the development in style through the context of social issues and historical influences" (2012). Senior Honors Projects, 2010-current. 400. https://commons.lib.jmu.edu/honors201019/400 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2010-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Brazilian Piano Through The Ages: A Look at the Development in Style Through the Context of Social Issues and Historical Influences _______________________ A Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ in Partial Fulfillment of the Requirements for the Degree of Bachelor of Music _______________________ by Rebecca Lin Chen May 2012 Accepted by the faculty of the Department of Music, James Madison University, in partial fulfillment of the requirements for the Degree of Bachelor of Music. FACULTY COMMITTEE: HONORS PROGRAM APPROVAL: Project Advisor: Paulo Steinberg, D.M.A. Barry Falk, Ph.D., Assistant Professor, Music Director, Honors Program Reader: Andrew Connell, Ph. D., Associate Professor, Music Reader: Bob Hallahan, B.M. -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
Chamber Music for Flute by Marlos Nobre
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Chamber Works for Flute by Marlos Nobre Carlos Feller Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHAMBER WORKS FOR FLUTE BY MARLOS NOBRE By CARLOS FELLER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Carlos Henrique Feller defended this treatise on March 16, 2012. The members of the supervisory committee were: Eva Amsler Chair of the Committee Jane Piper Clendinning University Representative Jeff Keesecker Committee Member Prof. Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS This work would not have been completed without the encouragement and guidance of my former flute teachers, professor Giampiero Pilatti and Dr. Danilo Mezzadri, the mentorship of Prof. Eva Amsler, my current teacher, and the expertise and advice of the members of my committee. I thank composer Marlos Nobre for sharing his music with me, and for being prompt to help with all the other material and information needed. Most of all, I could not thank my family enough for their continuous support: my father Waldemar Feller for having introduced me to music, my mother Tecla Casanova Feller for always encouragingly enduring the distance and time apart, my extended American family Mr.