Dance and Rhythm in Period
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Thoughts in Advance of an Interpretation
Professor Hartmut Haenchen Thoughts in advance of an interpretation Reflections on Mozart's Le nozze di Figaro in the light of performance practice Ornaments, cadenzas, lead-ins, dynamics and other points of vocal interest Luigi Bassi1 was a member of the Prague opera company and, as such, played a major part in the overwhelming success of Don Giovanni in Prague, where he sang not only the title role in the very first performance of Mozart's dramma giocoso, but also the Count in the local première of Le nozze di Figaro. Describing a later performance of one of Mozart's operas, he wrote: “There's nothing here, there's none of the animation or freedom that the great maestro wanted in this scene. Under Guardasoni2 we never sang this number the same way in two performances running, we didn't keep such strict time but made new jokes at each performance and paid attention only to the orchestra; everything parlando and virtually improvised - that's how Mozart wanted it.” However much Mozart may have insisted on a regular beat3, he was far from demanding slavish adherence in such matters. The type of freedom described by Bassi is entirely consistent with his own description of 'tempo rubato': “Everyone is amazed that I can always keep strict time. What these people cannot grasp is that in tempo rubato in an Adagio, the left hand should go on playing in strict time. With them the right hand gives in to the rubato.”4 Applying this definition to Bassi's foregoing description, we could say that the orchestra was the “left hand” and the singer, with his freedom of approach, the right hand.5 Bassi's account also touches on all the other questions bound up with a ‘parlando’ treatment of the text, including the various liberties that could be taken, the ornaments and cadenzas sanctioned by contemporary performance practice and the 'animation' that was achieved in various ways, not least of which was the use of extremely finely differentiated dynamics. -
Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
Glossary of Musical Terms
GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack accessible: music that is easy to listen to and understand adagio: a slow tempo alla breve / cut time: a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol allegro: a fast tempo; music should be played cheerfully / upbeat brisk alto: a low-ranged female voice; the second highest instrumental range alto instrument examples: alto flute, viola, French horn, natural horn, alto horn, alto saxophone, English horn andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat articulation marks: Normal: 100% Staccato: 50% > Accent: 75% ^ Marcato: 50% with more weight on the front - Tenuto: 100% art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles art song: a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonal: music that is written and performed without regard to any specific key atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballad: a work in dance form imitative of a folk song, with a narrative structure ballet: a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure barcarolle: a boating song, generally describing the songs sung by gondoliers in Venice. -
Sample Music Curriculum for Virginia Public Schools Kindergarten – Grade Twelve
Sample Music Curriculum for Virginia Public Schools Kindergarten – Grade Twelve Commonwealth of Virginia Department of Education Richmond, Virginia 2015 Copyright © 2015 by the Virginia Department of Education P.O. Box 2120 Richmond, Virginia 23218-2120 www.doe.virginia.gov All rights reserved. Reproduction of these materials for instructional purposes in public school classrooms in Virginia is permitted. Superintendent of Public Instruction Dr. Steven R. Staples Assistant Superintendent for Instruction Dr. John William Haun Office of Humanities & Early Childhood Dr. Christine A. Harris, Director Cheryle C. Gardner, Principal Specialist of Fine Arts Edited, designed, and produced by the CTE Resource Center Kevin P. Reilly, Administrative Coordinator Bruce B. Stevens, Writer/Editor Richmond Business and Medical Center Phone: 804-673-3778 2002 Bremo Road, Lower Level Fax: 804-673-3798 Henrico, Virginia 23226 Website: www.cteresource.org The CTE Resource Center is a Virginia Department of Education grant project administered by Henrico County Public Schools. NOTICE The Virginia Department of Education does not discriminate on the basis of race, sex, color, national origin, religion, sexual orientation, gender identity, age, political affiliation, or against otherwise qualified persons with disabilities. The policy permits appropriate employment preferences for veterans and specifically prohibits discrimination against veterans. The following position has been designated to handle inquiries regarding the Department’s non-discrimination policies: Deputy Superintendent – Finance and Operations Virginia Department of Education P. O. Box 2120 Richmond, Virginia 23218-2120 Telephone: 804-225-2025 For further information on Federal non-discrimination regulations, contact the Office for Civil Rights at [email protected] or call 1-800-421-3481. -
MTO 22.4: Moseley, Review of Grant
Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory Rowland Moseley KEYWORDS: history of music theory, meter, tempo, metronome, tempo giusto Received September 2016 [1] In this addition to the Oxford Studies in Music Theory series, Roger Mathew Grant presents a history of temporal regulation in European music from the sixteenth to the early nineteenth centuries.(1) Written and argued with unfailing finesse, Beating Time & Measuring Music pairs sophisticated readings of music-theoretical texts with lucid summations of historical trends. It offers music theorists valuable information and insight about meter studies, the history of music theory, and the wider history of ideas.(2) At the same time, the whole book stands to interest a broad academic audience, and performers will appreciate its lessons concerning analysis and performance practice. [2] In each of the monograph’s three parts, addressing the sixteenth and seventeenth, eighteenth, and early nineteenth centuries respectively, Grant examines three facets of meter: its description and conceptualization in theoretical writings, its mediation by techniques and technologies (of human or mechanical action), and its manifestation in notated musical compositions. That three-fold investigation is skewed neither to historically informed analysis nor to history with analytical illustration. Instead, the strands combine to tell of broad changes in how meter was imagined and realized in European music-making over three and a half centuries. [3] “Meter” bears unpacking here. At its core, Grant’s subject is meter and its mensural equivalents as construed by American music theorists since 1980.(3) Beat, pulse, accent, measure, time signature, and hypermeter are integral concepts, whereas more complex and irregular aspects of rhythm are excluded (5). -
CHOPIN: the MAN and HIS MUSIC Author: James Huneker
CHOPIN: THE MAN AND HIS MUSIC Author: James Huneker TABLE OF CONTENTS PART I.--THE MAN. I. POLAND:--YOUTHFUL IDEALS II. PARIS:--IN THE MAELSTROM III. ENGLAND, SCOTLAND AND FERE LA CHAISE IV. THE ARTIST V. POET AND PSYCHOLOGIST PART II.--HIS MUSIC. VI. THE STUDIES:--TITANIC EXPERIMENTS VII. MOODS IN MINIATURE: THE PRELUDES VIII. IMPROMPTUS AND VALSES IX. NIGHT AND ITS MELANCHOLY MYSTERIES: THE NOCTURNES X. THE BALLADES: FAERY DRAMAS XI. CLASSICAL CURRENTS XII. THE POLONAISES: HEROIC HYMNS OF BATTLE XIII. MAZURKAS: DANCES OF THE SOUL XIV. CHOPIN THE CONQUEROR BIBLIOGRAPHY BOOKS BY JAMES HUNEKER PART I.--THE MAN I. POLAND:--YOUTHFUL IDEALS Gustave Flaubert, pessimist and master of cadenced lyric prose, urged young writers to lead ascetic lives that in their art they might be violent. Chopin's violence was psychic, a travailing and groaning of the spirit; the bright roughness of adventure was missing from his quotidian existence. The tragedy was within. One recalls Maurice Maeterlinck: "Whereas most of our life is passed far from blood, cries and swords, and the tears of men have become silent, invisible and almost spiritual." Chopin went from Poland to France--from Warsaw to Paris--where, finally, he was borne to his grave in Pere la Chaise. He lived, loved and died; and not for him were the perils, prizes and fascinations of a hero's career. He fought his battles within the walls of his soul- -we may note and enjoy them in his music. His outward state was not niggardly of incident though his inner life was richer, nourished as it was in the silence and the profound unrest of a being that irritably resented every intrusion. -
Schubert Edition Liner Notes, Sung Texts
Schubert Edition Liner notes, sung texts (p. 1 – p. 61), full tracklist (p.62) Liner notes SYMPHONIES (CD1-CD4) scherzo, small deviations from these forms in all the first six symphonies Franz Schubert, unlikely symphonist betray a new approach to concord and discord: the distinction between All seven of Schubert’s completed symphonies – plus the B minor fragment harmony in the tonic and the dominant becomes less clear-cut to allow for known as the ‘Unfinished’ (though there are several other such fragments) a much richer language, not only in the development section where by – are played fairly often nowadays, but this wasn’t always the case. During convention harmonic richness is stimulated, but also in the exposition and Schubert’s lifetime (1797–1828) some of them were performed, but only the recapitulation of many movements. The result is a certain loss of the occasionally and in small circles; his most famous pieces instead ranked concision that is so typical of Haydn’s and Mozart’s music, and of energy among his songs and a small group of piano compositions, mainly for four (since Schubert, unlike Beethoven, is very sparing with great dynamic hands. These works fitted perfectly into a bourgeois culture that greatly contrasts), but an increase in lyric expansion. Already in the earlier enjoyed domestic music-making and valued music with an essentially symphonies, one observes Schubert’s inclination towards long passages classical framework as well as a romantic and melancholic character. without great dramatic contrasts but with an essentially continuous sonority. Even in his Fourth Symphony, in the ‘tragic’ key of C minor (the The symphony was regarded as a public genre during Schubert’s day; its nickname ‘Tragic’ is the composer’s own), Schubert is more a lyric than a greatest master was Ludwig van Beethoven, whose offerings combined a tragic composer. -
Teaching High School Students The
ABSTRACT Title of Dissertation: TEACHING HIGH SCHOOL STUDENTS THE BEST CHORAL REPERTOIRE FROM THE GREAT COMPOSERS: MASTERWORKS AVAILABLE FOR IMMEDIATE, FREE ACCESS FROM THE CHORAL PUBLIC DOMAIN LIBRARY Cynthia Bauchspies, Doctor of Musical Arts, 2015 Dissertation directed by: Professor Edward Maclary School of Music Studying the choral works of the great composers of the past is always a worthy endeavor. For those aspiring to create an excellent high school choral program, it is critical to a student’s musical foundation and heritage. Choral educators who teach high school are often bombarded with the most recently published new choral works, when they have a trove of excellent pieces right at their fingertips through websites like the Choral Public Domain Library (CPDL), all available at no cost. This project will explore the pedagogical reasons why this canon of public domain choral music should be taught at the high school level. A thorough guide to CPDL and an anthology of 200 works available on CPDL will provide the conductor with resources for programming this music. Though choral music in the public domain is free to all, publishers still publish this music and adhere copyright claims. This can create mistrust of legitimate editions on CPDL; why are they available at no cost when publishers are claiming copyright on similar editions? These issues will be thoroughly discussed in this project. For any given work on CPDL, there may be multiple editions available on the site. Choosing the right edition requires knowledge about basic editorial principles, especially for works written during the Renaissance period. A detailed discussion of these principles will provide the conductor with the tools needed to choose the best edition for his or her ensemble. -
Universi^ International
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Semelejohn Eccles
SEMELEJOHN ECCLES ACADEMY OF ANCIENT MUSIC CAMBRIDGE HANDEL OPERA JULIAN PERKINS ANNA DENNIS RICHARD BURKHARD HELEN CHARLSTON WILLIAM WALLACE AOIFE MISKELLY HÉLOÏSE BERNARD GRAEME BROADBENT JONATHAN BROWN RORY CARVER CHRISTOPHER FOSTER BETHANY HORAK-HALLETT JOLYON LOY JAMES RHOADS SEMELE (/ˈsɛmɪli/; Greek: Σεμέλη Semelē) 1 | | 2 an opera composed by JOHN ECCLES to a libretto by WILLIAM CONGREVE 3 | | 4 ACADEMY OF ANCIENT MUSIC Julian Perkins 5 | | 6 GODS Jupiter King of the Gods Richard Burkhard Juno Queen of the Gods Helen Charlston Iris handmaid to Juno Héloïse Bernard Cupid God of Love Bethany Horak-Hallett Somnus God of Sleep Christopher Foster Apollo Sun God and God of Prophecy Jolyon Loy The first surviving page of John Eccles’ autograph score of Semele. This is heard on this album from the fifth bar of Ah me! What Refuge now is left me?, sung here by Anna Dennis as Semele [track 05, CD1]. Library of the Royal College of Music, MS.183, f.1r | 8 MORTALS Cadmus King of Thebes Jonathan Brown Semele daughter of Cadmus Anna Dennis Ino sister of Semele Aoife Miskelly Athamas a prince of Boeotia William Wallace Chief Priest Graeme Broadbent Second Priest Rory Carver Third Priest James Rhoads First Augur Rory Carver Portrait of William Congreve, 1670-1729, by Sir Godfrey Kneller; National Portrait Gallery, London Second Augur Oil on canvas, 91cm x 71cm, 1709 James Rhoads | 10 ACADEMY OF ANCIENT MUSIC Leader Bojan Čičić Continuo bass violin Jonathan Rees bass viol Reiko Ichise harpsichords Julian Perkins & Peter Holman theorbo, guitar William -
Strings Syllabus Bowed Strings & Harp
Strings Syllabus Bowed Strings & Harp 2013–2014 Trinity College London 89 Albert Embankment London SE1 7TP UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E [email protected] www.trinitycollege.co.uk Charity number 1014792 Patron HRH The Duke of Kent KG Chief Executive Sarah Kemp Copyright © 2012 Trinity College London Published by Trinity College London Second impression, February 2013 Contents Introduction ..........................................................................................3 Range of qualifications .......................................................................4 About the exams Structure, Order of exam, Pass bands .........................................................5 Assessment, Length of the exam ................................................................6 During the exam ........................................................................................7 Pieces .......................................................................................................8 Special educational needs ..........................................................................9 Composition .............................................................................................10 Instruments ...............................................................................................11 Technical Work .........................................................................................12 Supporting Tests: Sight Reading .....................................................................................14