Strings Syllabus Bowed Strings & Harp
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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. -
Prospectus 19/ 20 Trinity Laban Conservatoire Of
PROSPECTUS 19/20 TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE CONTENTS 3 Principal’s Welcome 56 Music 4 Why You Should #ChooseTL 58 Performance Opportunities 6 How to #ExperienceTL 60 Music Programmes FORWARD 8 Our Home in London 60 Undergraduate Programmes 10 Student Life 62 Postgraduate Programmes 64 Professional Development Programmes 12 Accommodation 13 Students' Union 66 Academic Studies 14 Student Services 70 Music Departments 16 International Community 70 Music Education THINKING 18 Global Links 72 Composition 74 Jazz Trinity Laban is a unique partnership 20 Professional Partnerships 76 Keyboard in music and dance that is redefining 22 CoLab 78 Strings the conservatoire of the 21st century. 24 Research 80 Vocal Studies 82 Wind, Brass & Percussion Our mission: to advance the art forms 28 Dance 86 Careers in Music of music and dance by bringing together 30 Dance Staff 88 Music Alumni artists to train, collaborate, research WELCOME 32 Performance Environment and perform in an environment of 98 Musical Theatre 34 Transitions Dance Company creative and technical excellence. 36 Dance Programmes 106 How to Apply 36 Undergraduate Programmes 108 Auditions 40 Masters Programmes 44 Diploma Programmes 110 Fees, Funding & Scholarships 46 Careers in Dance 111 Admissions FAQs 48 Dance Alumni 114 How to Find Us Trinity Laban, the UK’s first conservatoire of music and dance, was formed in 2005 by the coming together of Trinity College of Music and Laban, two leading centres of music and dance. Building on our distinctive heritage – and our extensive experience in providing innovative education and training in the performing arts – we embrace the new, the experimental and the unexpected. -
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. -
Conference Newsletter A4 2018 Latest.Cdr
Vol.1 no.1 CONFERENCE NEWSLETTER 2018 Western Music Education Association wmea.in “Redefining Music Education Expertise in India” NEWSLETTER National Conference Program August 5, 2018 (Newsletter Vol. 2 no. 1) BENEFITS OF MEMBERSHIP ABOUT US. Ÿ Access to all NAfME materials including journals, research, lesson plans and The Western Music Education Association much more! (WMEA) is a non-profit organization Ÿ Micro-credentialing in a number of formed to support music and music music subject areas designed specifically education across India. The mission of the for Western Music Educators in India association is to positively affect music Ÿ Support of an organization designed to learning in India by providing institutional help you in your professional career guidance and quality professional development for music teachers. WMEA is the first overseas Federated Affiliate of NAfME , the National Organization for Music Education based in WMEA Western Music Education Association the US. NAfME is one of the leading arts organizations in the world, with over 1,30,000 members. Along with NAfME, JOIN MEMBERSHIP WMEA is in a unique position to design professional development opportunities wmea.in specifically for Indian music educators, and provide information on advocacy which will advance music education in India. 01 TABLE OF CONTENTS Letter from the Executive Director Messages from the Executive Board Welcome to all of Messages from NAfME our new members! 2018 Conference Program WMEA continues to fb/wmeaindia Schedule build in strength Presenter Bios and we're thrilled to News from WMEA have you all to be a New Additions to WMEA part of it. -
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). -
National Qualifications in Music: Performing
National Qualifications in Music: Performing Publication date: November 2019 Publication code: BB2878 (version 6) First published 2005 Published by the Scottish Qualifications Authority The Optima Building, 58 Robertson Street, Glasgow G2 8DQ Lowden, 24 Wester Shawfair, Dalkeith, EH22 1FD www.sqa.org.uk The information in this publication may be reproduced in support of SQA qualifications. If it is reproduced, SQA should be clearly acknowledged as the source. If it is to be used for any other purpose, written permission must be obtained from SQA. It must not be reproduced for trade or commercial purposes. © Scottish Qualifications Authority 2005, 2007, 2010, 2019 Contents Introduction 1 Choice of instruments 1 Accordion (free bass) 2 Accordion (Stradella) 5 Bagpipes (Scottish) 13 Baritone and euphonium 20 Bassoon 25 Bass guitar 29 Cello 30 Clarinet 35 Clarsach 40 Double bass 42 Drum kit 47 Flute 49 Guitar (classical) 54 Guitar and ukulele (electric and acoustic) — chordal 57 Harp 71 Horn in F 76 Horn (tenor) cornet (Eb) 81 Keyboard (electronic) 86 Oboe 96 Organ (electronic) 100 Organ (pipe) 102 Piano 106 Pipe band drumming 112 Recorder (descant) 114 Recorder (treble) 117 Saxophone (alto and baritone) 120 Saxophone (soprano and tenor) 124 Scots fiddle 128 Snare drum 138 Timpani 140 Tin whistle 143 Trombone (tenor) 149 Trumpet (Bb cornet and flugel) 154 Tuba 159 Tuned percussion 164 Viola 167 Violin 172 Voice 176 Introduction The repertoire lists in this document indicate the standard of music required for instruments and voice at all levels of National Qualifications in Music. Candidates may perform pieces from current or past syllabuses (including graded anthologies) at appropriate grade levels in ABRSM, Trinity Guildhall, Rockschool, London College of Music and RCS Scottish Traditional Music Grade Exams. -
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. -
A Design for a National Music Examination Board in Thailand, with Particular Reference to Viola Juckrit Charoensook
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-6-2015 A Design for a National Music Examination Board in Thailand, with Particular Reference to Viola Juckrit Charoensook Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Charoensook, Juckrit, "A Design for a National Music Examination Board in Thailand, with Particular Reference to Viola" (2015). Dissertations. 309. https://digscholarship.unco.edu/dissertations/309 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]. © 2015 JUCKRIT CHAROENSOOK ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School A DESIGN FOR A NATIONAL MUSIC EXAMINATION BOARD IN THAILAND, WITH PARTICULAR REFERENCE TO VIOLA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juckrit Charoensook College of Performing and Visual Arts School of Music Viola Performance December 2015 This Dissertation by: Juckrit Charoensook Entitled: A Design For A National Music Examination Board In Thailand, With Particular Reference To Viola has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music, Program -
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. -
Diplomas in Music: Performance and Teaching from 2009
Diplomas in Music: Performance and Teaching from 2009 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 © 2008 Trinity College London Published by Trinity College London Fifth impression, July 2013 Contents Introduction..........................................................................................................................................5 Overview of Trinity’s diploma qualifications in music ..............................................6 Performance diplomas Summary of unit requirements ...............................................................................................7 Summary of regulations — Performance diplomas ...........................................................8 Taking the examination ............................................................................................................12 Guidance on levels of diplomas and expected standards ..............................................14 Recital diplomas — ATCL, LTCL and FTCL Aims.....................................................................................................................................15 Learning outcomes.............................................................................................................15 Assessment objectives .......................................................................................................16