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A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching -
Peru's Musical Heritage of the Viceroyalty: the Creation of a National Identity
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2019 Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity Fabiola Yupari Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Yupari, Fabiola, "Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity" (2019). WWU Graduate School Collection. 887. https://cedar.wwu.edu/wwuet/887 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Peru’s Musical Heritage of the Viceroyalty: The Creation of a National Identity By Fabiola Yupari Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil Van Boer Dr. Ryan Dudenbostel Dr. Patrick Roulet GRADUATE SCHOOL Kathleen L. Kitto, Acting Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non-exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
Aragón and Valencia
ARAGÓN AND VALÈNCIA Aragón and València “The jota is at its best with the scent of rosemary and fresh-plowed earth,” says the opening song on this CD. An infectious collection of danced and sung jotas, archaic threshing songs, May courting songs, struck zither tunes, raucous shawms and lyrical strings, travelling down from the mountains of Aragón to the fertile coast of València. The Spanish Recordings Alan Lomax made these historic recordings in 1952 while traveling for months through Spanish villages, under formidable physical and political circumstances, during the Franco regime. Covering the breadth of Spain, these songs and dance melodies constitute a portrait of rural Spain’s richly varied musical life, dispelling the common stereotypes of Spanish folk music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded in 1952 by Alan Lomax. Introductions and notes by Luis Bajén García and Mario Gros Herrero (Aragón), Archivo de Tradición Oral de Aragón (ATOA); and Josemi Sánchez Velasco (València), Consellería de Cultura, Educació i Ciència, Generalitat de València. Series Editor, Judith R. Cohen, Ph.D. Remastered to 24-bit digital from the original field recordings. Contains previously unreleased recordings. Aragón 1. AL REGRESO DEL CAMPO (Work jota) Teruel (2:19) 2. A LAS ORILLAS DEL RÍO (Danced jota) Teruel (2:30) 3. JOTA HURTADA (“Stolen” jota) Albarracín (1:08) 4. MAYOS DE ALBARRACÍN (May courting verses) Albarracín (2:53) 5. SE ME OLVIDAN LOS RAMALES (Jota for plowing) Monreal del Campo (0:50) 6. -
Application Reference Number
Application Reference Number Application ORGANISATION- Institution Name Name of the organisation in English Organisation City Organisation Country Institutional code Country Name Code 103242-LA-1-2014-1-AT-E4AKA1-ECHE AT KATHOLISCH-THEOLOGISCHE PRIVATUNIVERSITÄT LINZ CATHOLIC THEOLOGICAL PRIVATE UNIVERSITY LINZ Österreich A LINZ11 215141-LA-1-2014-1-AT-E4AKA1-ECHE AT JOSEPH HAYDN KONSERVATORIUM DES LANDES BURGENLAND JOSEPH HAYDN CONSERVATORY OF THE PROVINCEEISENSTADT BURGENLAND Österreich A EISENST05 215901-LA-1-2014-1-AT-E4AKA1-ECHE AT MCI MANAGEMENT CENTER INNSBRUCK MCI MANAGEMENT CENTER INNSBRUCK INNSBRUCK Österreich A INNSBRU08 217232-LA-1-2014-1-AT-E4AKA1-ECHE AT PRIVATE UNIVERSITAET FUER GESUNDHEITSWISSENSCHAFTEN, MEDIZINISCHE INFORMATIK UND TECHNIK (UMIT) UNIVERSITY FOR HEALTH SCIENCES, MEDICAL INFORMATICSHALL I. TIROL AND TECHNOLOGYÖsterreich A INNSBRU20 217372-LA-1-2014-1-AT-E4AKA1-ECHE AT FH CAMPUS WIEN - VEREIN ZUR FÖRDERUNG DES FACHHOCHSCHUL-, ENTWICKLUNGS- UND FORSCHUNGSZENTRUMS IM SÜDEN WIENS FH CAMPUS WIEN, UNIVERSITY OF APPLIED SCIENCESWIEN Österreich A WIEN63 220726-LA-1-2014-1-AT-E4AKA1-ECHE AT MEDIZINISCHE UNIVERSITAET INNSBRUCK MEDICAL UNIVERSITY OF INNSBRUCK INNSBRUCK Österreich A INNSBRU21 220842-LA-1-2014-1-AT-E4AKA1-ECHE AT MEDIZINISCHE UNIVERSITÄT GRAZ MEDICAL UNIVERSITY OF GRAZ GRAZ Österreich A GRAZ23 220934-LA-1-2014-1-AT-E4AKA1-ECHE AT MEDIZINISCHE UNIVERSITAET WIEN MEDICAL UNIVERSITY OF VIENNA VIENNA Österreich A WIEN64 221685-LA-1-2014-1-AT-E4AKA1-ECHE AT CAMPUS 02 FACHHOCHSCHULE DER WIRTSCHAFT GMBH CAMPUS -
2011 PROGRAMA GENERAL / GENERAL PROGRAMME Director Artístico Péter Csaba Orquesta Música Decámara Recitales Lecciones Magistrales J ULIO 2011 P ROGRAMA G ENERAL 0
0. Portada 11 4/7/11 10:45 Página 1 PROGRAMA GENERAL ENCUENTRO DE MÚSICA Y ACADEMIA DE SANTANDER 2011 ROGRAMME E-mail [email protected] P Plaza de Oriente, s/n 28013 Madrid ENERAL Teléfono: + 34 91 523 04 19 Fax: + 34 91 532 96 61 / G Calle Hernán Cortés, 3-entresuelo 39003 Santander, Cantabria ENERAL Teléfono: + 34 942 31 14 51 G Fax: + 34 942 31 48 16 ROGRAMA CONSEJERÍA DE EDUCACIÓN CONSEJERÍA DE EMPLEO Y BIENESTAR SOCIAL 2011 P ANTABRIA C Péter Csaba PALACIO DE FESTIVALES Director Artístico DE CANTABRIA ANTANDER S JULIO Lecciones Magistrales Recitales CADEMIA DE Música de Cámara A Orquesta ICA Y S Ú M NCUENTRO DE El presente proyecto ha sido financiado con el apoyo de la Comisión Europea. Esta publicación es responsabilidad exclusiva de su autor. La Comisión no es responsable del uso que pueda hacerse de la información aquí difundida. E 0. Portada 11 4/7/11 10:45 Página 2 1 a 15. Programa 11 1/7/11 13:31 Página 1 a idea de celebrar cada verano el Encuentro de Música y Academia es una de las más felices que han podido aparecer en la escena educativa y artística de España y de Cantabria. La combinación del talento de maestros L consagrados y el de jóvenes prometedores de nivel internacional; de la docencia con el servicio cultural de la música para el deleite de los ciudadanos de toda nuestra región; su proyección al mundo a través de Internet. Todo ello reúne los muchos aspectos positivos de un proyecto bien concebido, singular, y de una elevadísima calidad. -
Women and the Guitar in Spain's Upper Classes1
Anuario Musical, vol. 53 (1998) WOMEN AND THE GUITAR IN SPAIN'S UPPER CLASSES1 Richard PINNELL Abstract The 13th-century Libro de Apolonio featured women and an aristocratic guitar called the vihuela. This instrument's prestige continued into the 16th century in the hands of empresses, queens, princesses, and ladies of the Spanish upper clas ses. Their inclination to perform on the fretted instruments enhanced the impact of humanistic and educational values ema nating fromthe ltalian Renaissance into Spain's Mediterranean ports. On the return ships, starting around 1550, Spanish women launched the baroque guitar's expatriation at Naples, which gathered forces for a northward invasion through the city-states and into the rest of Europe as the guitarra española. Reinforcements carne from Spanish and Italian popular culture, as it advanced north to Scandinavia and west to the Ameri cas. Following in the footsteps of the Habsburg infantas who became the wives of Louis XIII and Louis XIV of France, the guitar movement reached its apotheosis under Bourbon rule, which after 1700 circled back into Spain. From 1660 to 1800 the princesses and queens of the Habsburg, Savoyard, Stuart, and Bourbon dynasties, continually elevated the instrument's pres tige, adding to its popularity and opening the way for its influence in secular art music. Resumen El tema del Libro de Apolonio, del siglo xm, se basa en las mujeres y una aristocrática guitarra llamada vihuela. El prestigio de este instrumento continuó durante el siglo XVI en manos de emperatrices, reinas, princesas y señoras de las cla ses altas españolas. Su inclinación a tocar este tipo de instrumentos expandió la importancia de los valores humanísticos y educativos procedentes del Renacimiento Italiano que llegaban a los puertos mediterráneos de España. -
Program Notes
with the NASHVILLE SYMPHONY CLASSICAL SERIES THURSDAY, MARCH 21, AT 7 PM | FRIDAY & SATURDAY, MARCH 22 & 23, AT 8 PM NASHVILLE SYMPHONY MIGUEL HARTH-BEDOYA, conductor CHEE-YUN, violin NIKOLAI RIMSKY-KORSAKOV Capriccio espagnol, Op. 34 Alborada Variazioni Alborada Scena e canto gitano Fandango asturiano ÉDOUARD LALO Symphonie espagnole for Violin and Orchestra, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo Chee-Yun, violin – INTERMISSION – JOAQUÍN TURINA Danzas fantásticas, Op. 22 MANUEL DE FALLA Suite from El sombrero de tres picos (The Three-Cornered Hat) Introduction Afternoon Dance of the Miller's Wife (Fandango) The Miller's Wife The Neighbors' Dance The Miller's Dance (Farruca) Final Dance ( Jota) This concert will last approximately 2 hours, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE NIKOLAI RIMSKY-KORSAKOV Capriccio espagnol, Op. 34 • This concert highlighting the colors, rhythms and vitality of Spanish music opens — ironically enough — with a Russian composer known for cultivating a distinctly Slavic identity in his music. Rimsky-Korsakov found precedents for this piece in the work of fellow Russian Mikhail Glinka, who had written two pieces inspired by Spanish music. • As a young composer, the composer served in the Russian navy, which at one point took him to the coast of Northwestern Spain. That experience found its way into the vivacious closing movement, which draws on a high-energy dance style from this region. • Rimsky-Korsakov’s initial plan for this piece was to compose a violin concerto, which accounts for the prominent role of violin solos. -
Compañia Flamenca José Porcel Zellerbach Hall Gypsy Fire
CAL PERFORMANCES PRESENTS PROGRAM Saturday, November 19, 2011, 8pm Compañia Flamenca José Porcel Zellerbach Hall Gypsy Fire ith this new production, I wish to present the purest and oldest parts of flamenco from Compañia Flamenca José Porcel WAndalusia by revisiting the most famous styles of this dance form. Preserving the style and form of traditional flamenco, and the customs and experiences of the Andalusian people is my goal. José Porcel, Artistic Director Enjoy our wonderful dancers, musicians and vocal soloists performing without any added effects— only the pace, music, song and dance of the gypsy (roma) art form. José Porcel PROGRAM Profound Dance (seguiriya) The Company The seguiriya, along with the toná and the soleá, is one of the three fundamental elements of fla- menco—or, to be exact, one of the Andalusian-gypsy styles. The connection between the dancers and musicians is apparent in this deeply emotional yet demanding work. The lyrics are of sadness and reflect people’s tragedy, suffering, pain and distress. The Tribute José Porcel Dressed with a short gypsy (roma) suit and Andalusian-gypsy hat, José Porcel shares his interpre- tation of flamenco with this strong, powerful dance. Expressing great emotion and a virile style, this piece lets the audience share the intimate connection with Mr. Porcel and the traditions of the gypsies. A Pinch (farruca) The Dancers The farruca is a spectacular dance with guitar solo which originates from the folkloric influences imported by the gypsy (roma) people of Galicia, Asturias and Andalusia. Three different person- alities. Three different styles. Three different dancers with different energies creating a single line Jesus Villans of expression. -
The Musicologist Behind the Composer: the Impact of Historical Studies Upon the Creative Life in Joaquín Rodrigo's Guitar Compositions Josã© Antonio Donis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Musicologist Behind the Composer: The Impact of Historical Studies Upon the Creative Life in Joaquín Rodrigo's Guitar Compositions Josã© Antonio Donis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSICOLOGIST BEHIND THE COMPOSER: THE IMPACT OF HISTORICAL STUDIES UPON THE CREATIVE LIFE IN JOAQUÍN RODRIGO’S GUITAR COMPOSITIONS By JOSÉ A. DONIS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded Summer Semester, 2005 Copyright © 2005 José A. Donis All Rights Reserved The members of the Committee approve the thesis of José A. Donis defended on 9 June 2005. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Jeffery T. Kite-Powell Committee Member ______________________________ Bruce Holzman Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This thesis is dedicated to my cousin Rodrigo Mondelo--who introduced me to Joaquín Rodrigo’s music--his daughter Almudena, and my niece Katelyn. iii ACKNOWLEDGEMENTS I would like to acknowledge, first and foremost, Dr. Charles E. Brewer for his tireless guidance and patient demeanor. I would also like to acknowledge Dr. Jeffery Kite-Powell and Mr. Bruce Holzman for their insight and expertise on this project, and Ms. María José Cordero for her assistance translating from Spanish to English. I would like to acknowledge Cecilia Rodrigo and Katherine Zegarra at Ediciones Joaquín Rodrigo. -
A Humanistic Reading of Gaspar Sanz's Instrvccion
A HUMANISTIC READING OF GASPAR SANZ’S INSTRVCCION DE MVSICA SOBRE LA GVITARRA ESPAnOLA A thesis submitted to the faculty of San Francisco State University In partial fulfillment of The requirements for 3Cr The Degree ML M u sic Master of Arts In v .\ Music By Lars Christian Rosager San Francisco, California, USA May 2016 Copyright by Lars Christian Rosager 2016 CERTIFICATION OF APPROVAL I certify that I have read “A HUMANISTIC READING OF GASPAR SANZ’S INSTRVCCION DE MVSICA SOBRE LA GVITARRA ESPAnOLA” by Lars Christian Rosager, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Music at San Francisco State University. Lecturer of Music A HUMANISTIC READING OF GASPAR SANZ’S INSTRVCCION DE MVSICA SOBRE LA GVITARRA ESPAnOLA Lars Christian Rosager San Francisco, California, USA May 2016 ABSTRACT The purpose of this thesis is to locate traces of humanism in the 1674 method book of Aragonese guitarist Gaspar Sanz, Instruction de Mvsica sobre la Gvitarra Espanola (Musical instruction for the Spanish guitar). Building connections from Sanz back through the history of Spanish humanism, this text presents a unique interpretation of the early Spanish guitar, an instrument inseparable from the liberation and secularization of the Western European intellect. Beginning with background on the guitar and humanism separately, this thesis links the two subjects through an analysis of Instruction in nine chapters dedicated to the front matter of Sanz’s method book, its didactic guidelines, and its music. The impact of language and writing on the sociological image of the guitar comprises one of the most prominent recurring ideas. -
Secular Song of the Spanish Renaissance
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 8-2018 Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians During the Reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion Katharyn Reishus Benessa Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Benessa, Katharyn Reishus, "Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians During the Reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion" (2018). Dissertations. 478. https://digscholarship.unco.edu/dissertations/478 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2018 KATHARYN REISHUS BENESSA ALL RIGHTS RESERVED ! ! ! ! ! ! UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School ! ! SECULAR SONG OF THE SPANISH RENAISSANCE: PORTRAYALS OF MOORS AND CHRISTIANS DURING THE REIGN OF ISABEL AND FERNANDO, THE RECONQUEST, AND THE FIRST MORISCO REBELLION! ! A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor !of Arts ! Katharyn Reishus Benessa ! ! College of Performing and Visual Arts School of Music Music History !and Literature August 2018 This Dissertation by: Katharyn Reishus Benessa Entitled: Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians during the reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion! . ! has been approved as meeting the requirement for the Degree of Doctor of Arts in the College! of Music. -
The History and Use of Music in Colonial Spanish America 1500-1750
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1948 The History and Use of Music in Colonial Spanish America 1500-1750 Shirley M. Smith Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the History Commons Recommended Citation Smith, Shirley M., "The History and Use of Music in Colonial Spanish America 1500-1750" (1948). Master's Theses. 808. https://ecommons.luc.edu/luc_theses/808 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1948 Shirley M. Smith Ube biator~ Bnb 'Ulae ®f music 11 n (tolonial Spanisb B tnerica 1500==1750 b\? Sbirle\? m. $mitb B \rbesis $ubmitte~ lin 1Dartial Jfulfillmcnt ®f \rbc lRcqnirements Jfor \rbe '!Degree ®f master ~f Brts In '1lo\?oIa 'Ulni"erstt\? J"ebruar\? 1948 VITA Shirley 1:\. 8mi th was born in Dyersville, Iowa on July 24, 1921. She came to Chicago while still a child and attended the parochial schools of several parishes, graduating from Ascension School, Oak Park, Illinois in June of 1935. She completed her en tire high school education at Trinity High School, River Forest, Illinois, graduating in June of 1939. Her college education began with one semester at De Paul University, Ohicago, Illinois. She t~ transferred to Chicago Teachers College, Chicago, Illinois, from which she was graduated with a Bachelor of Education degree in February of 1944.