Page 1 M U S I C O F P O W E R H E a L I N G T H E SE a S O N 20/21
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Aaron Copland: Famous American Composer, Copland Was Born in Brooklyn, New York, on November 14, 1900. the Child of Jewish Immig
Aaron Copland: Famous American Composer, Copland was born in Brooklyn, New York, on November 14, 1900. The child of Jewish immigrants from Lithuania, he first learned to play the piano from his older sister. At the age of sixteen he went to Manhattan to study with Rubin Goldmark, a respected private music instructor who taught Copland the fundamentals of counterpoint and composition. During these early years he immersed himself in contemporary classical music by attending performances at the New York Symphony and Brooklyn Academy of Music. He found, however, that like many other young musicians, he was attracted to the classical history and musicians of Europe. So, at the age of twenty, he left New York for the Summer School of Music for American Students at Fountainebleau, France. In France, Copland found a musical community unlike any he had known. While in Europe, Copeland met many of the important artists of the time, including the famous composer Serge Koussevitsky. Koussevitsky requested that Copland write a piece for the Boston Symphony Orchestra. The piece, “Symphony for Organ and Orchestra” (1925) was Copland‟s entry into the life of professional American music. He followed this with “Music for the Theater” (1925) and “Piano Concerto” (1926), both of which relied heavily on the jazz idioms of the time. For Copland, jazz was the first genuinely American major musical movement. From jazz he hoped to draw the inspiration for a new type of symphonic music, one that could distinguish itself from the music of Europe. In the late 1920s Copland‟s attention turned to popular music of other countries. -
Harmonic Organization in Aaron Copland's Piano Quartet
37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 37 At6( /NO, 116 HARMONIC ORGANIZATION IN AARON COPLAND'S PIANO QUARTET THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By James McGowan, M.Mus, B.Mus Denton, Texas August, 1995 K McGowan, James, Harmonic Organization in Aaron Copland's Piano Quartet. Master of Music (Theory), August, 1995, 86 pp., 22 examples, 5 figures, bibliography, 122 titles. This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques. The first chapter introduces Copland's Piano Quartet in its historical context and considers major influences on his compositional development. The second chapter takes up a pitch-class set approach to the work, emphasizing the role played by the eleven-tone row in determining salient pc sets. Chapter Three re-examines many of these same passages from the viewpoint of tonal referentiality, considering how Copland is able to evoke tonal gestures within a structural context governed by pc-set relationships. The fourth chapter will reflect on the dialectic that is played out in this work between pc-sets and tonal elements, and considers the strengths and weaknesses of various analytical approaches to the work. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
JLGC NEWSLETTER Japan Local Government Center ( CLAIR, New York ) Issue No.81 March 2015
MARCH 2015 ISSUE #81 JLGC NEWSLETTER Japan Local Government Center ( CLAIR, New York ) Issue No.81 March 2015 CLAIR Fellowship Exchange Program 2014 was held from October 19 to October 29 in 2014 This program has been affording senior state and local government officials an opportunity CLAIR FELLOWSHIP to experience Japanese EXCHANGE PROGRAM 2014 government admin- ISSUE NO.81 MARCH 2015 istration first hand. This year the program was held in Tokyo and CLAIR Fellowship Exchange Amagasaki City, Hyogo Program 2014 was held from Prefecture. October 19 to October 29 in 2014 (Page1-6) Theme: Promotion of the tourism industry Amagasaki City is known as an industrial city, but not well known as tourist New York Times Travel destination. Now, promoting tourism in Amagasaki City has become an im- Show 2015 (Page7) portant issue, improving not only the local economy but also reenergizing the local communities. They would like to exchange opinions and share infor- mation about promoting tourism with senior officials who have experience or Japan Week 2015 (Page8-10) knowledge in the field. Participants exchanged their opinions, especially on the tourism industry. Also What Japanese food do you they experienced home-stays and traditional Japanese culture. like best? (Page11) JAPAN LOCAL GOVERNMENT CENTER (CLAIR, NY) 3 Park Avenue, 20th Floor New York, NY 10016-5902 212.246.5542 office • 212.246.5617 fax www.jlgc.org 1 MARCH 2015 ISSUE #81 Ms. Michelle Smibert Mr. Bob Gatt President, Association of Mayor, City of Novi, MI Municipal Managers, Clerks and Treasurers of Ontario In October, 2014, I set out for a trip of a lifetime. -
The Guardian.Pdf
My favourite film: Koyaanisqatsi By Leo Hickman December 13, 2011 It's a film without any characters, plot or narrative structure. And its title is notoriously hard to pronounce. What's not to love about Koyaanisqatsi? I came to Godfrey Reggio's 1982 masterpiece very late. It was actually during a Google search a few years back when looking for timelapse footage of urban traffic (for work rather than pleasure!) that I came across a "cult film", as some online reviewers were calling it. This meant I first watched it as all its loyal fans say not to: on DVD, on a small screen. If ever a film was destined for watching in a cinema, this is it. But, even without the luxury of full immersion, I was still truly captivated by it and, without any exaggeration, I still think about it every day. Koyaanisqatsi's formula is simple: combine the epic, remarkable cinematography of Ron Fricke with the swelling intensity and repeating motifs of Philip Glass's celebrated original score. There's your mood bomb, right there. But Reggio's directorial vision is key, too. He was the one who drove the project for six years on a small budget as he travelled with Fricke across the US in the mid-to-late 1970s, filming its natural and urban wonders with such originality. Koyaanisqatsi (1982) directed by Godfrey Reggio with music by Philip Glass. Photograph: Murdo Macleod for the Guardian Personally, I view the film as the quintessential environmental movie – a transformative meditation on the current imbalance between humans and the wider world that supports them (in the Hopi language, "Koyanaanis" means turmoil and "qatsi" means life). -
1 MUHL M406 Topics in Music History 1850-Present, 2 Credits, MUHL
MUHL M406 Topics in Music History 1850-present, 2 credits, MUHL M815, 3 credits Topic: Three American Mavericks: Charles Ives, Ruth Crawford Seeger, and Aaron Copland Fall 2006 Instructor: Dr. Valerie Goertzen, Communications/Music 201 Phone 865-2207; email [email protected] Office hours: Mondays, 2-3 p.m., Tuesdays, 9:30 to10:30 a.m., or by appointment Class meeting time: Wednesdays, 4:30-6:20, Room CM 135. Bulletin description: A seminar-style study of a single topic concerning music from Wagner to the present, usually focusing on some aspect of western art music but including consideration of influences from nonwestern and popular musics. Course may be repeated for credit, as long as topic is different. Topic description: According to Aaron Copland, “contemporary music as an organized movement in the U.S.A. was born at the end of the First World War” (Our New Music, 1941). Copland (1900-90) and Ruth Crawford Seeger (1901-53) were among a group of Americans who strived to create independent and challenging approaches to composition in the 1920s. With the coming of the Great Depression in the 1930s and World War II, they transformed their work in accordance with the prevailing spirit of nationalism and populism. Copland composed his famous ballets and other accessible works drawing on materials of the Americas, and Seeger largely set aside composition in order to collect and preserve folk music and to devote her energies to music for children. The compositions of the staunch individualist Charles Ives (1874-1954) of the previous generation became known to a broad spectrum of musical America only beginning in the 1920s, and thus also formed a part of this emerging repertory of new music. -
Vivaldi's Four Seasons
Vivaldi's Four Seasons Paul Dyer AO Artistic Director 2019 Australian Brandenburg Orchestra SYDNEY PROGRAM City Recital Hall Telemann Concerto for 4 Violins in G major, TWV 40:201 Friday 1 November 7:00PM Directed by Matthew Bruce, Baroque violin Saturday 2 November 2:00PM Telemann Ouverture-Suite in C major, Water Music, TWV 55:C3 (Matinee) Directed by Ben Dollman, Baroque violin Saturday 2 November 7:00PM i Ouverture Wednesday 6 November 7:00PM ii Sarabande. Die schlafende Thetis (The sleeping Thetis) Wednesday 13 November 7:00PM iii Bourée. Die erwachende Thetis (Thetis awakening) Friday 15 November 7:00PM iv Loure. Der verliebte Neptunus (Neptune in love) Parramatta (Riverside Theatres) v Gavotte. Die spielenden Najaden (Playing Naiads) Monday 4 November 7:00pm vi Harlequinade. Der scherzenden Tritonen (The joking Triton) vii Der stürmende Aeolus (The stormy Aeolus) MELBOURNE viii Menuet. Der angenehme Zephir (The pleasant Zephir) Melbourne Recital Centre ix Gigue. Ebbe und Fluth (Ebb and Flow) Saturday 9 November 7:00PM x Canarie. Die lustigen Bots Leute (The merry Boat People) Sunday 10 November 5:00PM Interval Vivaldi Le Quattro Stagioni (The Four Seasons), Op. 8 No. 1-4 Solo Baroque violin, Shaun Lee-Chen Concerto No. 1 La primavera (Spring), RV 269 i Allegro ii Largo iii Allegro Concerto No. 2 L’estate (Summer), RV 315 i Allegro non molto–Allegro ii Adagio–Presto–Adagio iii Presto Concerto No. 3 L’autunno (Autumn), RV 293 i Allegro ii Adagio molto iii Allegro Concerto No. 4 L’inverno (Winter), RV 297 i Allegro non molto ii Largo iii Allegro CHAIRMAN’S 11 Proudly supporting our guest artists. -
Unwrap the Music Concerts with Commentary
UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist. -
International Viola Congress
CONNECTING CULTURES AND GENERATIONS rd 43 International Viola Congress concerts workshops| masterclasses | lectures | viola orchestra Cremona, October 4 - 8, 2016 Calendar of Events Tuesday October 4 8:30 am Competition Registration, Sala Mercanti 4:00 pm Tymendorf-Zamarra Recital, Sala Maffei 9:30 am-12:30 pm Competition Semifinal,Teatro Filo 4:00 pm Stanisławska, Guzowska, Maliszewski 10:00 am Congress Registration, Sala Mercanti Recital, Auditorium 12:30 pm Openinig Ceremony, Auditorium 5:10 pm Bruno Giuranna Lecture-Recital, Auditorium 1:00 pm Russo Rossi Opening Recital, Auditorium 6:10 pm Ettore Causa Recital, Sala Maffei 2:00 pm-5:00 pm Competition Semifinal,Teatro Filo 8:30 pm Competition Final, S.Agostino Church 2:00 pm Dalton Lecture, Sala Maffei Post-concert Café Viola, Locanda il Bissone 3:00 pm AIV General Meeting, Sala Mercanti 5:10 pm Tabea Zimmermann Master Class, Sala Maffei Friday October 7 6:10 pm Alfonso Ghedin Discuss Viola Set-Up, Sala Maffei 9:00 am ESMAE, Sala Maffei 8:30 pm Opening Concert, Auditorium 9:00 am Shore Workshop, Auditorium Post-concert Café Viola, Locanda il Bissone 10:00 am Giallombardo, Kipelainen Recital, Auditorium Wednesday October 5 11:10 am Palmizio Recital, Sala Maffei 12:10 pm Eckert Recital, Sala Maffei 9:00 am Kosmala Workshop, Sala Maffei 9:00 am Cuneo Workshop, Auditorium 12:10 pm Rotterdam/The Hague Recital, Auditorium 10:00 am Alvarez, Richman, Gerling Recital, Sala Maffei 1:00 pm Street Concerts, Various Locations 11:10 am Tabea Zimmermann Recital, Museo del Violino 2:00 pm Viola Orchestra -
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................