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Music in the Baroque Period
MUSIC A.D. 450–1995 BY MARK AMMONS, D.M.A. COPYRIGHT © 1995 Mark Twain Media, Inc. ISBN 978-1-58037-976-2 Printing No. 1890-EB Mark Twain Media, Inc., Publishers Distributed by Carson-Dellosa Publishing LLC The purchase of this book entitles the buyer to reproduce the student pages for classroom use only. Other permissions may be obtained by writing Mark Twain Media, Inc., Publishers. All rights reserved. Printed in the United States of America. Music: A.D. 450–1995 TABLE OF CONTENTS Introduction ...................................................................................................................... iii Time Line ......................................................................................................................... iv Music in the Middle Ages ..................................................................................................1 Pope Gregory I and the Dove ...........................................................................................4 Leonin and Perotin Go to School ......................................................................................6 Troubadours, Trouvères, and Jongleurs............................................................................9 “New Art” vs. “Old Art” .....................................................................................................11 Music in the Renaissance ...............................................................................................13 Josquin: The Man, the Myth, the Great...........................................................................15 -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968
1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. -
Spanish Local Color in Bizet's Carmen.Pdf
!@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens. -
MLA in Memphis, Tennessee Lisa Rae Philpott the University of Western Ontario, [email protected]
Western University Scholarship@Western Western Libraries Publications Western Libraries 2-2006 MLA in Memphis, Tennessee Lisa Rae Philpott The University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/wlpub Part of the Archival Science Commons Citation of this paper: Philpott, Lisa Rae, "MLA in Memphis, Tennessee" (2006). Western Libraries Publications. 72. https://ir.lib.uwo.ca/wlpub/72 MLA in Memphis, Tennessee The Peabody Hotel February 22-25, 2006 By Lisa Rae Philpott Music Library, University of Western Ontario This year’s MLA Continuing Education rooting for its homegrown talent, Three-6 Workshop, Digitizing Music, was sponsored Mafia, nominated (and winners) in the Best by the Education Committee, and was a pre- Song category for “It’s Hard Out Here for a conference offering. I was fortunate to be Pimp” in the film, Hustle & Flow. Ford, a placed on the waiting list, and was pleased Northerner, described Memphis as a well kept that a larger venue was found, thus permitting secret and urged attendees to visit the me to attend this session. museums and take-in live performances on Beale Street. Her recommendations? MLA’s opening reception is the traditional “Experience music. Eat BBQ. See the beginning of the conference proper. Following Mississippi River.” on the heels of the New Members roundtable and reception, this reception provides the American Libraries’ reporter Gordon opportunity to meet- and-greet other MLA’ers Flagg was welcomed. Annie Thompson and visit with our many wonderful vendors. (Conference Manager) welcomed new exhibitors, and thanked the sponsors for their The seventy-fifth Annual Conference was underwriting of coffee breaks. -
DOROTHEA LINK Professor of Musicology Distinguished
DOROTHEA LINK Professor of Musicology Distinguished Research Professor Hugh Hodgson School of Music, 250 River Rd., University of Georgia, Athens, GA 30602 tel: 706 542 1034; fax: 706 542 2773; email: dlink AT uga.edu PUBLICATIONS Authored Books Arias for Stefano Mandini, Mozart’s first Count Almaviva. Recent Researches in the Music of the Classical Era 97. Middleton, WI: A-R Editions, 2015 (xlv, 127 pages). Reviews: Magnus Tessing Schneider in Notes: Quarterly Journal of the Music Library Association 73 (December 2016): 339-45. Arias for Vincenzo Calvesi, Mozart’s first Ferrando. Recent Researches in the Music of the Classical Era 84. Middleton, WI: A-R Editions, 2011 (xxxv, 118 pages). Reviews: Clifford Bartlett in Early Music Review 146 (February 2012): 6-7; Joshua Neumann in Notes: Quarterly Journal of the Music Library Association 70 (December 2013): 321-5. Arias for Francesco Benucci, Mozart's first Figaro and Guglielmo. Recent Researches in the Music of the Classical Era 72. Middleton, WI: A-R Editions, 2004 (xxvii, 120 pages). Reviews: Laurel E. Zeiss in Newsletter of the Society for Eighteenth-Century Music 7 (October 2005): 5-7; Julian Rushton in Early Music 36 (August 2008): 474-6; Saverio Lamacchia in Il saggiotore musicale 15, no. 2 (2008): 359-62. Arias for Nancy Storace, Mozart's first Susanna. Recent Researches in the Music of the Classical Era 66. Middleton, WI: A-R Editions, 2002 (xxv, 122 pages). Reviews: Emma Kirkby in Early Music (May 2003): 297-298; Constance Mayer in Notes: Quarterly Journal of the Music Library Association 60 (June 2004), 1032-1034; Julian Rushton in Music & Letters 85 (November 2004): 682-683; Laurel E. -
Guidelines for Contributors
013_guidelines 2015/07/11 09:29 Page 173 GuidelinesGuidelines for Contributors 1. The journal publishes longer studies, short essays, documentarydocumentary papers, and rere-- views in English, French, andand GermanGerman inin the the field field of of musicology musicology in in the the broadest broadest sense,sense, with special respect to subjects connected with the history of Hungarian music and folk (traditional) music.music. Please sendsend booksbooks andand editions editions for for review review to to Péter Péter Bozó, Halász, Institute Institute of Musicology, of Musicology, Re- searchResearch Centre Centre for forthe theHumanities, Humanities, Hungarian Hungarian Academy Academy of Sciences, of Sciences, Táncsics Táncsics M. u. 7,M. u. Bu 7,- dapest,Budapest, H-1014, H-1014, Hungary; Hungary; postal (Postal address: address: P.O. BoxP.O. 9,Box H-1250 9, H-1250 Budapest, Budapest, Hungary; Hungary); email: <[email protected]>.email: <[email protected]>. 2. Submissions Submissions shouldshould be be sent prefaced electronically by a covering and prefaced page givingby a covering full title, page name giving of fullthe writer,title, name affiliation of the (ifwriter, any) affiliationand contact (if details any) and(email contact and postaldetails address).(email and An postal English ad- dress).language An abstract English (not language more abstractthan 200 (not words) more and than keywords 200 words) (not and more keywords than five, (not also more in thanEnglish) five, should also in also English) be presented. should also be presented. 3. Paragraphs should be indicated with indentations rather than with empty lines, and these indentations should be made with tab stops, not by spacing. -
Full Biography (PDF)
Diana Moore, Mezzo-Soprano Full biog (697 words) British mezzo-soprano Diana Moore has established herself as a firm favourite with audiences on both sides of the Atlantic, winning acclaim for her unique voice which, according to Gramophone, 'combines the range of a mezzo with the tone quality of a contralto' and has been described by San Francisco Classical Voice as 'warm, plush, full and eminently smooth, with an air of nobility and grace'. Best known for her considerable experience with the Baroque repertoire, Diana's approach – 'a mixture of intelligence with musicianship [and] emotional depth' (The Guardian) – has led to repeat engagements with many of the world's leading classical and early music ensembles, including Collegium 1705, the English Concert, Philharmonia Baroque Orchestra, the Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, as well as collaborations with such eminent conductors as Nicholas McGegan, Marin Alsop, Sir John Eliot Gardiner, Trevor Pinnock and Sir Roger Norrington. A recognised Handelian, Diana has performed many operatic roles including the eponymous hero of Rinaldo at Göttingen International Handel Festival, Vlaamse Oper, Opera de Versailles, and National Theatre Prague; Sesto in Giulio Cesare at Göttingen; and Medoro in Orlando at Drottningholm Court Theatre (Stockholm), Lincoln Centre (New York), Ferrara Musica Festival, Tanglewood and Ravinia Festivals. She has also appeared at many prominent European Baroque Festivals with performances of Handel’s oratorio and choral works, and has performed his Messiah extensively in North America at venues including Kimmel Centre in Philadelphia, Meyerhoff Concert Hall in Baltimore, National Arts Centre in Ottawa, Strathmore Concert Hall in Washington and the Herbst Theatre in San Francisco. -
An Analysis and Discussion of Zwischenfach Voices by Jennifer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. -
Proselytizing the Prague Manifesto in Britain: the Commissioning, Conception, and Musical Language of Alan Bush’S “ Ottingham” Symphony
Proselytizing the Prague Manifesto in Britain: The Commissioning, Conception, and Musical Language of Alan Bush’s “ottingham” Symphony JULIE WATERS In 1949 the City of Nottingham held a week of celebrations commemorating the quincentenary of its Royal Charter of Freedom. A musical centerpiece of the celebrations was the premiere of Alan Bush’s Second Symphony, the “Nottingham.” Commissioned by the Nottingham Co-operative Society (NCS), a trading organization associated with the labour movement, the symphony was first performed on June 27 in the city’s Albert Hall by the London Philharmonic Orchestra. 1 The symphony was dedicated to the people of Nottingham and a bound copy of the score was presented to the Lord Mayor. Bush’s early reputation had been gained as the composer of difficult and complex works influenced by central European musical idioms, but after World War II he had become increasingly interested in making his music more accessible and national in character. 2 By June 1949 he had composed two concertos, two symphonies, and much orchestral, chamber, and vocal music. He was actively engaged in British musical life as composition teacher (Professor at the Royal Academy of Music), pianist, conductor, examiner, writer, and committee member of numerous British musical organizations, including the Composers’ Guild and British Council Music Advisory Committee. He was also a committed Marxist and member of the British Communist Party; his involvement in a wide range of left-wing musical activities included conducting workers’ choirs, organizing and composing for workers’ pageants, and establishing the Workers’ Musical Association (WMA). 3 The ottingham Symphony was the first major orchestral work Bush wrote after attending the Second International Congress of Composers and Musicologists in Prague in May 1948 (Prague Congress). -
Download Handel's Operas, 1704-1726, Volume 1, Winton Dean
Handel's operas, 1704-1726, Volume 1, Winton Dean, J. Merrill Knapp, Clarendon Press, 1995, 0198164416, 9780198164418, 771 pages. After two centures of near-total neglect, Handel's operas are now increasingly popular in the theatre, but modern productions are hampered by dependence on obsolete and inaccurate editions, and by ignorance of the musical and theatrical practice of Handel's age. Although Handel's autographs and performing scores have long been available, they have never before been fully studied, still less the very early manuscript copies. The manuscripts have yielded a great deal of unknown music, besides throwing fresh light on Handel's methods of composition and performance practice. This book covers Handel's first seventeen surviving operas, including his greatest and most successful. Each opera has a chapter, with a full synopsis of the libretto (including all original stage directions) and a comparison with its literary and dramatic sources. Each chapter covers the history of the opera in performance and the different versions in the manuscripts. Every known surviving manuscript has been examined. Eight appendices cover all performances in Handel's time, borrowings, modern revivals, new information on his singers, and a complete index of Italian first lines in all Handel's works. About the Authors: Wynton Dean is the author ofHandel's Dramatic Oratorios and Masques. John Merrill Knapp is Emeritus Professor of Music at Princeton University.. DOWNLOAD http://bit.ly/1cXKjfn The New Grove Mozart , Stanley Sadie, 1982, Composers, 247 pages. Handel, Who Knew What He Liked , M. T. Anderson, 2013, Juvenile Nonfiction, 38 pages. In this biography, the man who would later compose some of the world's most beautiful music is shown to have once been a stubborn little boy with a mind of his own.