DOCSLIB.ORG

Ucin1115643242.Pdf (5.88

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ucin1115643242.Pdf (5.88 UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 1 A STUDY OF NATIONALISTIC EXPRESSION OF THE CHORO IN HEITOR VILLA-LOBOS’S CHAMBER WORKS WITH BASSOON A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College Conservatory of Music 2005 by Sun Joo Lee B.M., Seoul National University, 1996 M.M., Mannes College of Music, 1998 2 Abstract The purpose of this document is to study how Heitor Villa-Lobos presented his nationalistic expression of the choro within selected chamber works for mixed instrumentation with bassoon. The use of folk and popular music was the utmost inspiration to Villa-Lobos. The choro (a specific form of urban popular music of Rio de Janeiro) was an especially prominent source for Villa-Lobos’s chamber works and for his development of a nationalistic style. The selected works are infused with characteristics of the choro, such as virtuosity, improvisation, rhapsodic form, syncopation, polyrhythm, contrapuntal texture, melodic and rhythmic ostinato, and wide melodic leaps. Although these works contain the elements of the choro genre, Villa-Lobos composed each work in a unique nationalistic style. Villa-Lobos mastered the lending of European musical styles based on the recognizable and appealing qualities of the choro, which resulted in a certain hybrid character. He absorbed musical elements from Bach, Romanticism, and French Impressionism, and used them with his own creative representation of Brazilian folk and popular music. For general information, chapter 2 provides a brief historical background of Brazilian music, primarily a historical and stylistic account of the choro, and the diversity of ethnic types. Chapter 3 focuses on how Villa-Lobos presented the characteristics of Brazilian music along 3 with other resources in creating his unique compositional style. I provide musical analyses that demonstrate the distinct elements of Villa-Lobos’s music (harmony, melody, rhythm, counterpoint, form texture/instrumentation, etc.). Thereafter, I summarize with comparative analysis of the main elements of the choro and their counterparts in Villa-Lobos’s works including Noneto, Choros No. 3, Quinteto em forma de choros, and Bachianas Brasileiras No. 6. Also a discography of these works is included. 4 5 Acknowledgements I would like to express my appreciation to my committee, family, and friends for the support throughout this project. My advisor, Professor Robert Zierolf made suggestions that were central to the revision process. Professor William Winstead, my bassoon teacher, his mentoring over the years has given me valuable achievements on my playing, as well as his insightful comments and suggestions were essential to my final revisions. I would like to thank Professor Martin James, my bassoon teacher who inspired me to start out this project and gave suggestions and guidance. I would like to thank Professor Rodney Winther for the guidance. I would like to thank my friends, Anna and Jee for support of the process of this project. I would like to express my deepest gratitude for my parents for supporting me throughout my life. Without their love and support, I would not have accomplished it through this point of my life. 1 TABLE OF CONTENTS 1. List of Musical Examples 2 2. Introduction 5 3 Villa-Lobos’s Compositional Style and Analyses 20 4. Summary and Conclusion 91 5. Discography 93 6. Bibliography 95 2 LIST OF MUSICAL EXAMPLES EXAMPLES PAGE 1. Villa-Lobos Noneto, mm. 1-12 32-34 2. Villa-Lobos Noneto, rehearsal no. 2: mm. 1-4 34 3. Villa-Lobos Quatour, first movement mm. 31-33 35 4. Villa-Lobos Noneto, rehearsal no. 8 36 5. Villa-Lobos Noneto, rehearsal no. 9: mm. 1-3 37 6. Villa-Lobos Noneto, rehearsal no. 13: mm. 1-6 37-38 7. Villa-Lobos Noneto, rehearsal no. 15: mm. 6-13 39 8. Villa-Lobos Noneto, rehearsal no. 16: mm. 1-8 40 9. Villa-Lobos Noneto, rehearsal no. 19 41 10. Villa-Lobos Noneto, rehearsal no. 20 42 11. Villa-Lobos Noneto, rehearsal no. 22; mm. 6-23: 4 43 12. Villa-Lobos Noneto, rehearsal no. 40: mm. 1- 6 45 13. Villa-Lobos Noneto, rehearsal no. 42: mm. 9-44: 3 46 14. Villa-Lobos Noneto, rehearsal no. 46: mm. 5-47: 3 47-48 15. Villa-Lobos Noneto, rehearsal no. 48: mm. 5-8 49 16. Villa-Lobos Noneto, rehearsal no. 51: mm. 1-4 50 17. Villa-Lobos Noneto, rehearsal no. 52 51-52 18. “Nozani-na” tune from Roquette Pinto’s Rondonia 55 19. Villa-Lobos Choros No. 3, mm. 1-12 55-56 3 20. Villa-Lobos Choros No. 3, mm. 17-24 57 21. Villa-Lobos Choros No. 3, mm. 33-35 58 22. Villa-Lobos Choros No. 3, mm. 39-45 60 23. Villa-Lobos Choros No. 3, mm. 77-86 61 24. Villa-Lobos Choros No. 3, mm. 100-14 63-64 25. Villa-Lobos Choros No. 3, mm. 129-33 65 26. Villa-Lobos Quinteto em Forma de Choros, mm. 1-14 67-68 27. Villa-Lobos Quinteto em Forma de Choros, mm. 40-45 69 28. Villa-Lobos Quinteto em Forma de Choros, mm. 46-56 70 29. Villa-Lobos Quinteto em forma de Choros, mm. 70-73 71 30. Villa-Lobos Quinteto em Forma de Choros, mm. 84-89 71 31. Stravinsky Rite of Spring, Dance of the Adolescent girls, mm. 1-8 and 35-42 72 32. Villa-Lobos Quinteto em Forma de Choros, mm. 96-105 73 33. Villa-Lobos Quinteto em Forma de Choros, mm. 129-31 74 34. Villa-Lobos Quinteto em Forma de Choros, mm. 163-69 75 35. Villa-Lobos Quinteto em Forma de Choros, mm. 177-81 76 36. Villa-Lobos Quinteto em Forma de Choros, mm. 200-203 77 37. Villa-Lobos Quinteto em Forma de Choros, mm. 210-15 78 38. Villa-Lobos Quinteto em Forma de Choros, mm. 248-58 79 39. Villa-Lobos Quinteto em Forma de Choros, mm. 303-308 80 40. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 3-4 82 41. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 7-8 82 42. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 15-16 83 4 43. Villa-Lobos Bachianas Brasileiras No. 6, first movement, mm. 29-30 83 44. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 1-5 84 45. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 16-19 85 46. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 28-34 86 47. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 61-69 87 48. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 100-101 88 49. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 122-23 89 50. Villa-Lobos Bachianas Brasileiras No. 6, second movement, mm. 129-32 90 5 Chapter 1 Introduction Heitor Villa-Lobos (1887-1959) wrote ten chamber works for mixed instrumentation with bassoon. Among these I have selected four that are infused with unique aspects of Villa-Lobos’s nationalistic expression. This selection of works reveals his distinct musical language and exhibits a blending of diverse musical styles of European and Brazilian popular music, particularly the choro. The Choro, a specific form of urban popular music of Rio de Janeiro, was a prominent basis for Villa-Lobos’s chamber works and for his development of a nationalistic style. The characteristics of the choro include virtuosity, improvisation, rhapsodic form, syncopation, polyrhythm, and contrapuntal texture. Many of Villa-Lobos’s works show stylistic diversity through the combination of recognizable and appealing qualities of the choro genre with other resources. Villa-Lobos was uniquely skilled in adapting folk and popular music; he used their melodies, rhythms, and traditional instruments, and occasionally composed melodies in the style of folk and popular music. Moreover, Villa-Lobos combined Brazilian and other Latin American dance rhythms in order to create his unique Brazilian style. His chamber works combine musical elements from J.S. Bach, Romanticism, and French Impressionism, all of which he had studied carefully, fuse into his own creative representation of Brazilian folk and popular music. 6 Villa-Lobos wrote about seven hundred works in various genres. Some compositions reflect his individuality, but others do not reveal the same strength and intensity.1 This explains a certain inconsistency and lack of natural development in some of his compositional output.2 Villa-Lobos’s compositions often show free forms, frequent shift of meters, unceasing ostinato, and lack of thematic development. Most of these elements resemble Brazilian folk and popular music. I have studied and analyzed four of the chamber works that include bassoon: Noneto, Choros No. 3, Quinteto em forma de choros, and Bachianas Brasileiras No. 6. All show the composer’s distinctive style based on the characteristics of the choro. I examined how Villa- Lobos expressed the characteristics of Brazilian music, especially the choro, along with other resources used in creating his unique nationalistic style. Methodology To determine how Villa-Lobos created his distinctive style in selected chamber works with bassoon, I performed musical analyses that demonstrate the distinct elements of Villa- Lobos’s music (harmony, melody, rhythm, counterpoint, form, texture/instrumentation, etc.). Rhythm is the most important element in these works. Villa-Lobos considered rhythm the most important aspect of his compositional principles along with sonority and his own personality.3 Several aspects of Villa-Lobos’s rhythmic practice include Afro-Brazilian syncopation, 1 Lisa M.
Load more

Recommended publications
  • GENERAL MUSIC Grade 3
    GENERAL MUSIC Grade 3 Course Overview: Grade 3 students will engage in a wide variety of music activities, including singing, playing instruments, and dancing. Music notation is addressed through reading rhythm subdivisions to sixteenth notes, multiple beat notations, and reading five note melodic notations on a five line staff. They also continue building the foundation of musical vocabulary. NOTE: Throughout this document, learning target types are identified as knowledge (“K”), reasoning (“R”), skill (“S”), or product (“P”). NATIONAL STANDARD 1: Students sing, alone and with others, a varied repertoire of music. Benchmark 1: Students sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo. Learning Targets (Type): 1) I can label a melody that moves by step, skip, or repeat when I listen to a so n g or sing a song. (R) 2) I can identify steps, skips, and repeats when I see them on a treble staff. (K) 3) I can play the steady beat with body percussion or on an instrument when I sing a song. (S) 4) I can play the melodic rhythm of the song using body percussion or unpitched percussion instruments. (S) Benchmark 2: Students sing expressively, with appropriate dynamics, phrasing, and interpretation. Learning Targets (Type): 1) I can make and perform a dynamic plan for a song using p, mp, mf, and f. (S) 2) I can count the number of phrases in a song. (K) Benchmark 3: Students sing from memory a varied repertoire of songs representing genres and styles from diverse cultures. Learning Targets (Type): 1) I can sing holiday music from around the world in December.
    [Show full text]
  • It Happened in Montevideo a Look at a Hoard of Rolls from Uruguay
    30 It Happened in Montevideo A look at a hoard of rolls from Uruguay As all collectors know, from time to time something crops up that is quite unexpected and different from anything you’ve seen before. This is certainly the case with a collection of rolls recently imported into the UK from Montevideo in Uruguay, a saga that took a good three years. Earlier articles looking at South America have shown it was a market where pretty well anything was imported, so the majority of rolls are from familiar American, British and German companies. Most are 88-note but with plenty of Artrio-Angelus reproducing rolls, as well as Recordo and QRS Automatic expression rolls – the latter offering more basic expression than reproducing pianos, a type of instrument rarely seen in the UK. The mixture of music, and the condition of the rolls, suggests that the collection is based around the remaining stock from a closed shop. Maybe this was the importer, and piano dealership, Vittone Hnos (Brothers) whose name appears on some box-top labels. So, what was unexpected? It was the final block of rolls made locally in Montevideo. They are on two different labels, the majority on Victor and a few on GH, the initials of their maker, Gioscia Hnos. Autumn 2010 31 Now, anybody with the slightest interest in old records or gramophones will immediately be asking whether this Victor is the famous gramophone maker, or if the name is just a coincidence. The seller actually referred to them as “RCA Victor”, which seemed so far-fetched that it was dismissed (RCA came into the frame very late in the roll-making era).
    [Show full text]
  • John Corigliano's Fantasia on an Ostinato, Miguel Del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles
    Graduate Theses, Dissertations, and Problem Reports 2016 Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano's Fantasia on an Ostinato, Miguel del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles Tse Wei Chai Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Chai, Tse Wei, "Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano's Fantasia on an Ostinato, Miguel del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles" (2016). Graduate Theses, Dissertations, and Problem Reports. 5331. https://researchrepository.wvu.edu/etd/5331 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano’s Fantasia on an Ostinato, Miguel del Aguila’s Conga for Piano, and William Bolcom’s Nine New Bagatelles Tse Wei Chai A Doctoral Research Project submitted to The College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, D.M.A., Committee Chair & Research Advisor Peter Amstutz, D.M.A.
    [Show full text]
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • The Russian Five Austin M
    Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera.
    [Show full text]
  • Africans: the HISTORY of a CONTINENT, Second Edition
    P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 This page intentionally left blank ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 africans, second edition Inavast and all-embracing study of Africa, from the origins of mankind to the AIDS epidemic, John Iliffe refocuses its history on the peopling of an environmentally hostilecontinent.Africanshavebeenpioneersstrugglingagainstdiseaseandnature, and their social, economic, and political institutions have been designed to ensure their survival. In the context of medical progress and other twentieth-century innovations, however, the same institutions have bred the most rapid population growth the world has ever seen. The history of the continent is thus a single story binding living Africans to their earliest human ancestors. John Iliffe was Professor of African History at the University of Cambridge and is a Fellow of St. John’s College. He is the author of several books on Africa, including Amodern history of Tanganyika and The African poor: A history,which was awarded the Herskovits Prize of the African Studies Association of the United States. Both books were published by Cambridge University Press. i P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 ii P1: RNK 0521864381pre CUNY780B-African 978 0 521 68297 8 May 15, 2007 19:34 african studies The African Studies Series,founded in 1968 in collaboration with the African Studies Centre of the University of Cambridge, is a prestigious series of monographs and general studies on Africa covering history, anthropology, economics, sociology, and political science.
    [Show full text]
  • Songs of the Mighty Five: a Guide for Teachers and Performers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me.
    [Show full text]
  • Superimposed Subdivisions (Polyrhythm Hell) [Sallan Tarkistama]
    HEIKKI MALMBERG Superimposed Subdivisions (Polyrhythm Hell) Polyrhythms or Polymeters? Usually when musicians talk about polyrhythms, they refer to rhythmic structures that are made of two or more simultaneous time signatures, in which the secondary (superimposed) time signature basically revolves around the dominant time signature. I suggest that we use the term polymeter in such cases, and use the term polyrhythm solely in situations where there are two or more subdivisions happening in the same time interval (e.g. eight note triplets over sixteenth notes). Here’s a simple example of a polymeter where the bass drum plays in 5/16 while the hands keep common (4/4) time. 3 3 3 3 5 5 5 5 5 5 3 5 5 5 5 And here’s a not so simple example of polyrhythms using eight notes, eight/quarter note triplets and sixteenth note quintuplets. So What Should I Do? In order to learn to play any two subdivisions against each other, or rather superimpose them if you will, you should get a reference of how they sound played simultaneously on one instrument (A good teacher and a sequencer are of paramount help here), and learn to phonetically mimic the result. You can make up halfwitted sentences or just blabber away with any foolish sounds that you come up with. as long as you’re mimicking the rhythm, it doesn’t matter. 3 3 3 3 or cold cup of tea blah bla da blah Here’s two subdivisions Here they have Here’s their daily dialog after waiting to get married.
    [Show full text]
  • A Tribute to the Mighty Handful the Russian Guitar Quartet
    A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music.
    [Show full text]
  • La Voix Humaine: a Technology Time Warp
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Study Guide for State Certification for Sdmta
    STUDY GUIDE FOR STATE CERTIFICATION FOR SDMTA Be able to define the following terms: rit, accelerando, molto, poco, fermata, dolce, la melodia, simile, chromatic, cantabile, misterioso, leggiero, presto, adagio, subito, scherzando, vivace, tenuto, senza, con brio, semplice, alla marcia, submediant, leading tone, super tonic, tritone, dominant, bouree, ecossaise, musette, quadrille, rondo, giocoso, clavichord, harpsichord, primo, secondo, etc. Be able to identify perfect, major, minor, augmented, and dimished intervals. Be able to identify the following chords: major, minor, diminished, augmented, dominant 7 th , minor 7 th , half diminished, neopolitan 6 th , tone cluster Be able to write the following scales: major, minor (3 forms), pentatonic, whole tone, chromatic Be able to write the following modes: dorian, phrygian, lydian, mixolydian, locrian Be able to identify key signatures and analyze bass chords Have an understanding of the following: orchestral music, symphony music, sonata, opus, number, oratorio, opera Describe the following cadences: authentic, plagal, half, deceptive Describe 3 methods of modulation List the 4 main periods of music history and give their dates; give characteristics of each style; be able to name 3 composers in each Know which period the following forms and styles were prominent: dance suite, waltz, fugue, mazurka, sonata allegro form, polytonality, canon, etude, modal, tone clusters, inventions, rondo, polyphonic, tone row, dissonance, whole tone scales, describing nature, alberti bass, homophonic, jazz
    [Show full text]
  • Francis Poulenc and Surrealism
    Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof.
    [Show full text]