This Article Is Intended to Complement My Discussion of the Gap Between
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Frescobaldi Gesualdo Solbiati
Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
FRENCH CONNECTIONS with Avery Gagliano, Piano
FRENCH CONNECTIONS with Avery Gagliano, piano February 13, 2021 | 7:30 PM Welcome to OMP's Virtual Concert Hall! Bonjour et bienvenue! Thank you to our loyal donors and season subscribers for your continued support, and a warm welcome to those who are joining us in our "Virtual Concert Hall" for the first time. Your contributions have made it possible for OMP to present our third virtual chamber orchestra performance in HD audio and video! We hope you enjoy this programme musical français featuring First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition Avery Gagliano! THANK YOU TO THESE GENEROUS GRANTING ORGANIZATIONS: Get the PremiumExperience! Level A Subscription Seat Access to Virtual Premium Special Concerts and additional OMP content or concerts. Receive "Kelly's Recommendation" in headphones: Bose® SoundLink around-ear headphones II with contactless shipping Select a personally autographed CD or DVD of "A Virtual Recital", featuring 2015 Young Soloist Competition Winner John Fawcett, violin and Kelly Kuo, piano. Complimentary, contactless wine delivery upon virtual reception advanced reservation Current 2020-21 Subscribers can use the amount of their tickets as a credit toward their purchase of an OMP Premium Experience Package! Give the gift of with OMP and Bose at oregonmomzaurstipclayers.org/tickets Orchestra Kelly Kuo, Artistic Director & Conductor VIOLIN Jenny Estrin, acting concertmaster Yvonne Hsueh, principal 2nd violin Stephen Chong Della Davies Sponsored by Nancy & Brian Davies Julia Frantz Sponsored by James & Paula Salerno Nathan Lowman Claudia Miller Sponsored by Jeffrey Morey & Gail Harris Sophie Therrell Sponsored by W. Mark & Anne Dean Alwyn Wright* VIOLA Arnaud Ghillebaert principal viola Lauren Elledge Kimberly Uwate* CELLO Dale Bradley acting principal cello Sponsored by Larissa Ennis & Lindsay Braun Eric Alterman Noah Seitz BASS Nicholas Burton, principal bass HARPSICHORD/PIANO Thank you to our additional musician sponsors: John Jantzi, Theodore W. -
Girolamo Frescobaldi Aria Detta La Frescobalda
Girolamo Frescobaldi 1583 - 1644 Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) für Gitarre bearbeitet von / arranged for Guitar by Thomas Königs Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) Für Gitarre bearbeitet Girolamo Frescobaldi von Thomas Königs (1998) (1583-1644) Prima Parte CII 4 3 3 3 3 3 4 4 4 4 2 0 0 # Ó œ œ œ œ ˙ ˙ ˙ œ œ œ œ 0 # c 1 w 1 ˙ ˙ 1wŒ œ ˙# ˙ œ œ œn œ V 2 w 0 w w 1 w ˙ 1 ˙ œ w w ˙# œ 2 ˙n ˙ 3 ˙ w ˙ . œ ˙ 1 4 4 2 3 1 4 Ó j 0 œ œ. œ œ œ # œ œ œ 0 œ ˙ wœ. œ œ œ # 2 œ œn É . J ˙ V 3 w œ ˙˙ ˙ . Œ ˙ w œ w ˙ 1 ˙ ˙ w ˙n . ˙ ˙ 2 0 4 4 4 3 0 2 U # #˙ 3 3 œn 1 œ 2 œ# ˙ ˙ 3 ˙ á # ˙ ˙œ 4 1 œ œ œ œ œ ˙ œ á V œ 2 œ# œ 1 œ 1œ ˙ á w ˙ œ ˙n œ w á Ó á Seconda Parte 4 4 3 3 3 # œ œ œ œ 0 œ ˙. ˙. œ ˙ # 6 2 œ œ œ œ œ œ œ ˙. ˙. V 4 1 ˙. œ œ œ ˙. ˙. ˙. ˙# . œ œn œ ˙. ˙. œ œ œ 4 3 Œ 0 Œ œ # ˙. ˙. ( ) 0 0 ˙. # ˙n . ˙. ˙# œ 0 œ œ 1 œ œ3 œ V 2 Œ œ ˙ œ 1 ˙. Œ œ 4 2 2 ˙. œn œ œ œ œ œ ˙. ˙. ˙. ˙. 3 4 # œ œ œ V # œn ˙. -
Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
RAFAEL PUYANA Harpsichordist
1965 Eighty-seventh Seaso n 1966 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Second Program Third Annual Chamber Arts Series Complete Series 3488 RAFAEL PUYANA Harpsichordist SUNDAY EVENING, OCTOBER 31, 1965, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Five Galliards GIROLAMO FRESCOBALDI (1583-1643) More Palatino JAN PIETERSZOON SWEELINCK (1562-1621) The Scottish Gigue Anonymous, England, 17th Century Le Moutier . JACQUES CHAMPION DE CHAMBONNIERES (Variation by LOUIS COUPERIN) (c. 1602-167 2) Pavanne LOUIS COUPERIN (1626-1661) Concerto in D major (after Vivaldi) J. S. BACH Allegro (1685-1750) Larghetto Allegro INTERMISSION Passacaglia in D minor J. K. F. FISCHER (c. 1665- 1746) Sonata in C major (Longo 102 , Kirkpatrick 423) DOMENICO SCARLATTI (1685-1757) Sonata in D major (Longo 14, Kirkpatrick 492) DOMEN ICO SCARLATTI Sonatas . ANTONIO SOLER F -sharp major (1729-1783) C-sharp minor D-flat major Les Folies d'Espagne CARL PHILIPP EMANUEL BACH (1714- 17 88) M erwry Records A R S LON G A V I T A BREVIS UNIVERSITY MUSICAL SOCIETY INTERNATIONAL PRESENTATIONS T he twenty-sixth annual Chamber Music Festival Three concerts THE NEW YORK CHAMBER SOLOISTS FRIDAY, FEBRUARY 18, 8:30 Selections from the Notebook of Anna Magdalene Bach BACH Duo in B-flat major, for violin and viola . MOZART Cantata No.1 on Elizabethan Texts HUGH AITKEN Five Blake Songs for tenor and oboe . VAUGHAN WILLIAMS Trio in B-flat major for violin, viola, and cello SCHUBERT -
The Piano Improvisations of Chick Corea: an Analytical Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 The iP ano Improvisations of Chick Corea: An Analytical Study. Daniel Alan Duke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duke, Daniel Alan, "The iP ano Improvisations of Chick Corea: An Analytical Study." (1996). LSU Historical Dissertations and Theses. 6334. https://digitalcommons.lsu.edu/gradschool_disstheses/6334 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the te d directly fi-om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y. -
Bach and the Beaming of Small Note Values David Schulenberg The
Bach and the Beaming of Small Note Values David Schulenberg The grouping of eighth, sixteenth, and smaller notes through beams is an element of notation taken for granted by many musicians. Music editors typically allow beaming to be determined by modern convention—or, increasingly, by software algorithms. Yet beaming, like other notational elements, has a history, and at least some composers have used it, consciously or unconsciously, in ways that suggest meaningful distinctions in the way notes are grouped or left ungrouped. Johann Sebastian Bach is one such composer, and editors of his music have sometimes made conscious decisions about the beaming of small note values in his works. Whether those decisions reflect Bach’s own beaming or have been imposed editorially, and whether or not the distinctions between various types of beaming are meaningful, are the subjects of this paper. The discussion opens with some theoretical considerations, continuing with the examination of beaming in several other repertories (placing Bach’s notation in a historical context), and closing with some observations about actual beaming in Bach’s music. Along the way the author offers perspectives gained from his work as a contributor to an ongoing edition of the music of Bach’s second son Carl Philipp Emanuel. One of the few scholars who have paid even glancing attention to beaming was Heinrich Schenker. Early in the twentieth century he observed several instances in which Mozart and Beethoven seem to have used beaming to reflect what he calls units or unities (Einheiten). For instance, in a passage from Mozart’s second G-minor symphony, Schenker asserts that the beaming in the autograph manuscript clarifies the resolution of a dissonance, that is, a 7–6 progression (ex. -
A Study of Selected Piano Toccatas in the Twentieth Century: a Performance Guide Seon Hwa Song
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Study of Selected Piano Toccatas in the Twentieth Century: A Performance Guide Seon Hwa Song Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A STUDY OF SELECTED PIANO TOCCATAS IN THE TWENTIETH CENTURY: A PERFORMANCE GUIDE By SEON HWA SONG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Seon Hwa Song defended on January 12, 2011. _________________________ Leonard Mastrogiacomo Professor Directing Treatise _________________________ Seth Beckman University Representative _________________________ Douglas Fisher Committee Member _________________________ Gregory Sauer Committee Member Approved: _________________________________ Leonard Mastrogiacomo, Professor and Coordinator of Keyboard Area _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENT Above all, I am eagerly grateful to God who let me meet precious people: great teachers, kind friends, and good mentors. With my immense admiration, I would like to express gratitude to my major professor Leonard Mastrogiacomo for his untiring encouragement and effort during my years of doctoral studies. His generosity and full support made me complete this degree. He has been a model of the ideal teacher who guides students with deep heart. Special thanks to my former teacher, Dr. Karyl Louwenaar for her inspiration and warm support. She led me in my first steps at Florida State University, and by sharing her faith in life has sustained my confidence in music. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.