(1) Western Culture Has Roots in Ancient
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Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
MTO 20.2: Wild, Vicentino's 31-Tone Compositional Theory
Volume 20, Number 2, June 2014 Copyright © 2014 Society for Music Theory Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory Jonathan Wild NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.wild.php KEYWORDS: Vicentino, enharmonicism, chromaticism, sixteenth century, tuning, genus, species, mode ABSTRACT: This article explores the pitch structures developed by Nicola Vicentino in his 1555 treatise L’Antica musica ridotta alla moderna prattica . I examine the rationale for his background gamut of 31 pitch classes, and document the relationships among his accounts of the genera, species, and modes, and between his and earlier accounts. Specially recorded and retuned audio examples illustrate some of the surviving enharmonic and chromatic musical passages. Received February 2014 Table of Contents Introduction [1] Tuning [4] The Archicembalo [8] Genus [10] Enharmonic division of the whole tone [13] Species [15] Mode [28] Composing in the genera [32] Conclusion [35] Introduction [1] In his treatise of 1555, L’Antica musica ridotta alla moderna prattica (henceforth L’Antica musica ), the theorist and composer Nicola Vicentino describes a tuning system comprising thirty-one tones to the octave, and presents several excerpts from compositions intended to be sung in that tuning. (1) The rich compositional theory he develops in the treatise, in concert with the few surviving musical passages, offers a tantalizing glimpse of an alternative pathway for musical development, one whose radically augmented pitch materials make possible a vast range of novel melodic gestures and harmonic successions. -
THE UBIQUITY of the DIATONIC SCALE Leon Crickmore
LEON CRICKMORE ICONEA 2012-2015, XXX-XXX The picture in figure 1 shows the old ‘School of Music’ here in Oxford. Right up to the nineteenth century, Boethius’s treatise De Institutione Musica was still a set book for anyone studying music in this University. The definition of a ‘musician’ contained in it reads as follows1: Is vero est musicus qui ratione perpensa canendi scientiam non servitio operis sed imperio speculationis adsumpsit THE UBIQUITY (But a musician is one who has gained knowledge of making music by weighing with reason, not through the servitude of work, OF THE DIATONIC SCALE but through the sovereignty of speculation2.) Such a hierarchical distinction between music Leon Crickmore theory and music practice was not finally overturned until the seventeenth century onward, by the sudden Abstract: increase in public musical performances on the There are an infinite number of possible one hand, and the development of experimental pitches within any octave. Why is it then, that in science on the other. But the origins of the so many different cultures and ages musicians distinction probably lie far in the past. Early in the have chosen to divide the octave into some kind of diatonic scale? This paper seeks to eleventh century, Guido D’Arezzo had expressed a demonstrate the ubiquity of the diatonic scale, similar sentiment, though rather more stridently, in and also to reflect on some possible reasons why a verse which, if that age had shared our modern this should be so. fashion for political correctness, would have been likely to have been censured: Musicorum et cantorum magna est distancia: Isti dicunt, illi sciunt quae componit musica. -
Newsof the Field
NEWSOF THE FIELD Compiled by Jeffrey Nussbaum If you have news of concerts, publications, recordings, symposia, or workshops, please send notices to :Historic Brass Society, 148West 23 Street #2A, New York, NY 10011 USA (212) 627-3820. Baroque Trumpet Mutes Fred Holmgren is now making wooden Baroque trumpet mutes. Two models are currently available: one is a copy of the mute in the Historical Museum, Basel, as pictured in Altenburg's Trumpeters' and Kettledrummers' Art. The second is modeled after an anonymous example in the collection of Franz Strietwieser. The Base1 mute raises the pitch one semi-tone, and the Anonymous model raises the pitch two semi- tones, the whole step mentioned in the Altenburg description. This mute enables players to play, for example the morning hymn "Aus meines Herzengrunde," which includes a trumpet in E and two trumpets in D con sordino. For information contact: Fred Holmgren, 1139 Chestnut Street, Athol, MA 0133 1, Phone: (508)249-5174. Horn Symposium The 1991 International Horn Symposium celebrated the 23rd year of the International Horn Society's biggest event. Over 350 horn teachers, and horn lovers (including actor David Ogden Stiers!!) attended the event at the University of North Texas in Denton, May 12-19, 1991. Historical instruments were well-represented in performances by Michel Garcin-Marrou (London Classical Players, among others). Javier Bonet- Manrique (firstprize, 1990 International Horn Competition), and JackMasarie (Univer- sity of North Carolina- Greensboro), performing M.Haydn, Concertino for Horn and Trombone. Exhibitors of natural horns included Paxman and Engelbert Schmid (Germany). Roland Homath of the Vienna Philharmonic gave a remarkable perfor- mance on the traditional Wiener Pumpen-horn. -
Ethology of Art: Music and Architecture: from the Seikilos Epitaph to the Composer-Architect Iannis Xenakis
Ethology of art: Music and Architecture: From the Seikilos epitaph to the composer-architect Iannis Xenakis. ISHE Summer School in Athens, May 2015 Gerhard Apfelauer 2015 Music and Architecture 1 Abstract Music and Architecture are two closely correlated human arts, with regard to their creation and performance by architect and musician as well as to their watchers' / listerers' reception. Composer and architect experience enthusiasm for the successful application of rules, the „getting organized“ according to prescriptions create ... Flow Experience for the architect as well as for the composer, cp. with play→ Dopamin production, synapse formation. More analysis needed. The listener / beholder enjoys organization, form and structure, recognition of components, symmetry, sound and colours, harmony (or disharmony), aesthetics, counterpoints, rhythmics .... 2015 Music and Architecture 2 Music and Architecture: what do they have in common? Music Architecture Flow Composer Architect 1. Historic „Embodiment“ of Music: notation on components of Architecture: the Seikilos epitaph … 2. „Gestaltism“ is an aesthetical universal for both arts 3. Mathematical rules in architecture and music in „advanced“ civilizations: Palladio, Xenakis --- 4. Mutual metaphorics in Architecture and Music in various cultures: Arabian music, Europe: e.g. Busoni, ... 5. Sound localisation in architecture and its phylogenetic background: Venice, Nono, …. 6. Acoustics, the common denominator 2015 Music and Architecture 3 Notation: Example 1. The Seikilos epitaph The song is written in the Phrygian harmoniai (mode). Found in the vicinity of Aydın, Aegean region, close to Ephesus by Sir William Mitchell Ramsay, 1883). Dated around 200 before Christ. Today in the Danisch Nationalmuseum. central tone (mese) ΕΙΚΩΝΗ ΛΙΘΟΣ Eikonē lithos Ich bin ein Bild in Stein; ΕΙΜΙ· ΤΙΘΗΣΙ ΜΕ eimi; tithēsi me Seikilos stellte mich hier auf, ΣΕΙΚΙΛΟΣ ΕΝΘΑ Seikilos entha wo ich auf ewig bleibe, ΜΝΗΜΗΣ ΑΘΑΝΑΤΟΥ mnēmēs athanatou als Symbol zeitloser Erinnerung. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: -
Signaling © C.K
Signaling © C.K. Ruppelt, 2018 A full legion had four different types of specialists carrying brass All specialists were specifically trained legionaries. The horn blower instruments depending on their uses. positions were highly sought after since the men received double-pay like the standard bearers and were excused from menial labor (camp The buccina, used by a legionary buccinator building and digging). A long tube of ten to twelve feet, bent into a circle that ends with a forward-looking flare above the blower’s head, with an angled bar across the bend diameter for stability and as handle. Its appropriate use was the announcement of watch changes while in camp, and the call for all soldiers to gather under the authority of the executive officer. The cornu, used by a legionary cornicen Very similar to the buccina in looks. Was exclusively used to signal all troops in battle (in combination with the raising and lowering of standards), and so had a different repertoire. The tuba, used by a legionary tubicen A straight horn, three to four feet long. Exclusively used in battle and in concert with the cornu. The tuba players, or tubicen, were located within the cohorts and centuries, and let the specific divisions know which commands from the cornu were meant for them. The lituus, used by an auxiliary liticen Part of Trajan’s column in Rome showing two buccina or cornu players in civilian clothes, with two tuba players standing behind. Another straight horn of similar length to the tuba, but with a bend at the outgoing side, giving it the shape of the letter “J.” It was the cavalry’s instrument for transmitting battle field calls. -
Key and Mode in Seventeenth- Century Music Theory Books
204 KEY AND MODE IN SEVENTEENTH- One of the more remarkable cultural phenomena of modern times is the emergence of a generally accepted musico-syn- tactical system (a musical "language") known, among other ways, as the "common practice of the eighteenth and nineteenth centuries," or as the "major/minor system of harmony," or as "tonal [as opposed to modal] harmony. " While twentieth-cen- tury composers have sought new ways to structure music, in- terest in the major/minor system continues undiminished owing to a variety of reasons, among them the facts that the bulk of present day concert repertoire stems from the common prac- tice period, and that theories relevant originally to music of the eighteenth and nineteenth centuries have been profitably extended to more recent music. 205 CENTURY MUSIC THEORY BOOKS WALTER ATCHERSON Much has been written concerning the major/minor system. By far the most words have been expended in attempts to codify the syntax of major/minor and make it into a workable method of teaching composition. Numerous music theory text books of the eighteenth and nineteenth centuries fall into this cate- gory. Another category of writing concerning the major/minor system consists of those efforts to set forth philosophical, mathematical, or acoustical explanations of major/minor har- mony; this category often overlaps the first, as it does already in Jean-Philippe Rameau's TRAITE DE L'HARMONIE (1722). In the twentieth century the major/minor system has ceased to serve as a basis for composition instruction, and the search 206 for philosophical, mathematical, and acoustical explanations has proved unrewarding. -
From the Cave to the Rave Act 1 Miriam Andersén & Ensemble Mare Balticum (Ute Goedecke, Per Mattsson, Tommy Johansson, Dari
From the Cave to the Rave Act 1 Miriam Andersén & Ensemble Mare Balticum (Ute Goedecke, Per Mattsson, Tommy Johansson, Dario Losciale, Stefan Wikström, Fredrik Persson and guests). Prehistoric Soundscapes: ancient voices and bodies, along with horns, whistles, pipes, rattles, scrapers, bull-roarers and other weird sound-tools enliven the landscapes of prehistoric Europe. Barnaby Brown From Hohle Fels to the Highlands_ part 1: postcards of a travel into time and space, surfing on the sound waves of single-, double- and triple-pipe, from Paleolithic caves to the end of the 1st Millennium. John & Patrick Kenny Mighty Voices of Bronze and Power_ part 1: Celtic and Etruscan symbols of the highest rank, the long trumpets known as carnyx, lituus and cornu finally are singing again, after a very long silence. Kēlēthmós (Roza Poulimenou, Callum Armstrong, Stefan Hagel) The Art of the Muses: resurrected lyres and double-pipes together with the oldest readable melodies bring alive echoes of the music culture that gave rise to Western literature. Auloi/Tibiae Team (Barnaby Brown, Stefan Hagel, Cristina Majnero, Roberto Stanco, Olga Sutkowska and guests) The Workshop of Dionysus: the first organic homegrown team of scholars and musicians who are experimenting on actual reproductions of ancient Greek and Roman double-pipe reed instruments. Act 2 John & Patrick Kenny Mighty Voices of Bronze and Power_ part 2: Celtic and Etruscan symbols of the highest rank, the long trumpets known as carnyx, lituus and cornu finally are singing again, after a very long silence. Ludi Scænici (Gaetano Delfini, Daniele Ercoli, Cristina Majnero, Mirco Mungari, Roberto Stanco) Sound Pictures from Ancient Rome: glimpses of Roman games and ceremonies, frames taken from the Latin comedy and also some insight on the popular music performed at that time.