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TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. -
The Trombone Sonatas of Richard A. Monaco Viii
3T7? No. THE TROMBONE SONATAS OF RICHARD A. MONACO DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By John A. Seidel, B.S., M.M. Denton, Texas December, 19 88 Seidel, John A., The Trombone Sonatas of Richard A. Monaco, A Lecture Recital, Together with Three Recitals of Selected Works by J.S. Bach, Paul Creston, G.F. Handel, Paul Hindemith, Vincent Persichetti, and Others. Doctor of Musical Arts in Trombone Performance, December, 1988, 43 pp., 24 musical examples, bibliography, 28 titles. This lecture-recital investigated the music of Richard A. Monaco, especially the two sonatas for trombone (1958 and 1985). Monaco (1930-1987) was a composer, trombonist and conductor whose instrumental works are largely unpublished and relatively little known. In the lecture, a fairly extensive biographical chapter is followed by an examination of some of Monaco's early influences, particularly those in the music of Hunter Johnson and Robert Palmer, professors of Monaco's at Cornell University. Later style characteristics are discussed in a chapter which examines the Divertimento for Brass Quintet (1977), the Duo for Trumpet and Piano (1982), and the Second Sonata for Trombone and Piano (1985). The two sonatas for trombone are compared stylistically and for their position of importance in the composer's total output. The program included a performance of both sonatas in their entirety. Tape recordings of all performances submitted as dissertation requirements are on deposit in the library of the University of North Texas. -
FDCC Annual Meeting July 24-31, 2010 Munich “The Ultimate
FDCC Annual Meeting w July 24-31, 2010 w Munich “The Ultimate Federation Experience”FDCC Annual Meeting Munich | 1 Liebe Freunde der Föderation, (Dear Friends of the Federation,) Grüss Gott from Mike, Jenny, Mills, and Carol Anne. We are leaving on a jet plane, and want you to come with us, so pack your bag, grab your passport, and put on your walking shoes; “The Ultimate Federation Experience” is about to begin! Reserve your room now and join us at Munich’s newly remodeled Westin Grand Arabellapark Hotel. Our FDCC room rate starts at 164 Euro per night, and can be extended for three days before and after the meeting, based upon availability. Our CLE theme is “Taking Client Service to the Next Level: Going Global”, and Deb Kuchler has masterfully designed it to compare and contrast American and European views on cutting-edge legal issues. Friday’s outstanding Keynote Speaker is Alastair Campbell, former Director of Communications and Strategy for Prime Minister Tony Blair. Pat and Marge Hagan are our Convention Registration Chairs. Along with John Kuchler, they will make your onsite Registration a breeze. During your free time, enjoy the Old World charm and modern sophistication of Munich and Bavaria. Plan to hit the ground running because we have lined up the “best of the best” excursions, beginning Saturday, July 24th! Tuesday, July 27th marks the return of Fellowship Day, and we have planned three exciting trips into the Bavarian countryside for you, all of which include lunch and will be escorted by English-speaking guides. You might like to see Schloss Neuschwanstein, King Ludwig II’s beautiful castle in the Alps, and spend the afternoon in Garmisch- Partenkirchen or at the Olympic Ski Jump. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Turbofolk Reconsidered
Alexander Praetz und Matthias Thaden – Turbofolk reconsidered Matthias Thaden und Alexander Praetz Turbofolk reconsidered Some thoughts on migration and the appropriation of music in early 1990s Berlin Abstract This paper’s aim is to shed a light on the emergence, meanings and contexts of early 1990s turbofolk. While this music-style has been exhaustively investigated with regard to Yugoslavia and Serbia, its appropriation by Yugoslav labour migrants has hitherto been no subject of particular interest. Departing from this research gap this paper focuses on “Ex-Yugoslav” evening entertainment and music venues in Berlin and the role turbofolk possessed. We hope to contribute to the ongoing research on this music relying on insights we gained from our fieldwork and the interviews conducted in early and mid-2013. After criticizing some suggestions that have been made regarding the construction of group belongings by applying a dichotomous logic with turbofolk representing the supposedly “inferior”, this approach could serve to investigate the interplay between music and the making of everyday social boundaries. Drawing on the gathered interview material we, beyond merely confirming ethnic and national segmentations, suggest the emergence of new actors and the increase of private initiatives and regional solidarity to be of major importance for negotiating belongings. In that regard, turbofolk events – far from being an unambiguous signifier of group loyalty – were indeed capable to serve as a context that bridged both national as well as social cleavages. Introduction The cultural life of migrants from the former Yugoslavia is a subject area that so far has remained to be widely under-researched. -
2018 Continental Cup Statistics – Men's 400M
2018 Continental Cup Statistics – Men’s 400m - by K Ken Nakamura All time performance list at the Continental Cup Performance Performer Time Name Team Pos Venue Year 1 1 44.22 Jeremy Wariner AME 1 Split 2010 2 2 44.47 Mike Franks USA 1 Canberra 1985 3 3 44.54 LaShawn Merritt USA 1 Athinai 2006 4 4 44.58 Roberto Hernandez AME 1 Barcelona 1989 5 5 44.59 Ricardo Chambers AME 2 Split 2010 6 6 44.60 Iwan Thomas GBR 1 Madrid 2002 6 44.60 LaShawn Merritt AME/USA 1 Marrakech 2014 8 7 44.66 Gary Kikaya AFR 2 Athinai 2006 9 8 44.72 Thomas Schönlebe GDR 2 Canberra 1985 10 9 44.84 Michael Bingham EUR 3 Split 2010 10 9 44.84 Isaac Makwala AFR/BOT 2 Marrakech 2014 12 11 44.86 Jens Carlowitz GDR 2 Barcelona 1989 12 11 44.86 Ingo Schultz GER 2 Madrid 2002 14 13 44.88 Cliff Wiley USA 1 Roma 1981 15 14 44.97 Gabriel Tiacoh AFR 3 Barcelona 1989 16 15 44.99 Innocent Egbunike AFR 3 Canberra 1985 16 15 44.99 Sunday Bada NGR 1 Havana 1992 18 17 45.01 Kevin Borlee EUR 4 Split 2010 19 18 45.03 Yousef Ahmed Masrahi ASP/KSA 3 Marrakech 2014 20 19 45.11 Dimitrios Regas GRE 3 Athinai 2006 21 20 45.12 Darren Clark OCE 4 Canberra 1985 Slowest winning time: 45.39 by El Kashief Hassan (AFR) in 1979 Margin of Victory Difference Winning Time Name Team Venue Year Max 0.87 44.99 Sunday Bada AFR Havana 1992 Min 0.04 45.33 Iwan Thomas GBR Johannesburg 1998 Best Marks for Places in the World/Continental Cup Pos Time Name Team Venue Year 1 44.22 Jeremy Wariner AME/USA Split 2010 44.47 Mike Franks USA Canberra 1985 2 44.59 Ricardo Chambers AME Split 2010 44.66 Gary Kikaya AFR -
Le Ray Au Soleyl
Le Ray au Soleyl Musica alla corte dei Visconti alla fine del XIV secolo B © fra bernardo,f Wien 2011 LE RAY AU SOLEYL Musica alla corte dei Visconti alla fine del XIV secolo «... quando un’anima riceve un’impressione di bellezza non sensibile non in modo astratto, ma attraverso un’impressione reale e diretta, come quella avvertita quando si percepisce un canto» Simone Weil «Il canto è un animale aereo» Marsilio Ficino Verso la CORTE Del CoNTE DI VIRTÙ, sulle orme DI PETrarCA Nell’ultimo trentennio del Trecento e nei primi anni del Quattrocento il medioevo splende come una foglia d’autunno che sta per cadere e rivela colori impredicibili e irripetibili poiché conseguenza della sua estate e non di altre. L’Ars nova sembra arrivare a una fase di incandescenza, di ebbrezza per gli incredibili conseguimenti notazionali, che si accompagnano a una perizia estrema nell’arte del contrappunto e a una padronanza dell’intenzione retorica che ancora oggi si è soliti concedere solo ad epoche assai posteriori. Eminente- mente in Francia e in Italia, fioriscono maestri che raffinano l’arte musicale conducendola a vette da cui è difficile immaginare di poter muovere un solo passo ulteriore. Essi infatti giungono alle soglie della modernità, si affacciano arditamente sul Tempo Nuovo, ma per morirvi quasi senza eredità. Le prime testimonianze che legano il nome dei Visconti alla musica e ai musicisti sono più antiche di qualche decennio rispetto a questa sta- gione ultima. Risalgono infatti al II quarto del XIV secolo e ai primi maestri dell’Ars nova italiana: in particolare a Maestro Piero, Giovanni da Cascia e Jacopo da Bologna. -
2012 European Championships Statistics – Men's 100M
2012 European Championships Statistics – Men’s 100m by K Ken Nakamura All time performance list at the European Championships Performance Performer Time Wind Name Nat Pos Venue Year 1 1 9.99 1.3 Francis Obikwelu POR 1 Göteborg 20 06 2 2 10.04 0.3 Darren Campbell GBR 1 Budapest 1998 3 10.06 -0.3 Francis Obikwelu 1 München 2002 3 3 10.06 -1.2 Christophe Lemaitre FRA 1sf1 Barcelona 2010 5 4 10.08 0.7 Linford Christie GBR 1qf1 Helsinki 1994 6 10.09 0.3 Linford Christie 1sf1 Sp lit 1990 7 5 10.10 0.3 Dwain Chambers GBR 2 Budapest 1998 7 5 10.10 1.3 Andrey Yepishin RUS 2 Göteborg 2006 7 10.10 -0.1 Dwain Chambers 1sf2 Barcelona 2010 10 10.11 0.5 Darren Campbell 1sf2 Budapest 1998 10 10.11 -1.0 Christophe Lemaitre 1 Barce lona 2010 12 10.12 0.1 Francis Obikwelu 1sf2 München 2002 12 10.12 1.5 Andrey Yepishin 1sf1 Göteborg 2006 14 10.14 -0.5 Linford Christie 1 Helsinki 1994 14 7 10.14 1.5 Ronald Pognon FRA 2sf1 Göteborg 2006 14 7 10.14 1.3 Matic Osovnikar SLO 3 Gö teborg 2006 17 10.15 -0.1 Linford Christie 1 Stuttgart 1986 17 10.15 0.3 Dwain Chambers 1sf1 Budapest 1998 17 10.15 -0.3 Darren Campbell 2 München 2002 20 9 10.16 1.5 Steffen Bringmann GDR 1sf1 Stuttgart 1986 20 10.16 1.3 Ronald Pognon 4 Göteb org 2006 20 9 10.16 1.3 Mark Lewis -Francis GBR 5 Göteborg 2006 20 9 10.16 -0.1 Jaysuma Saidy Ndure NOR 2sf2 Barcelona 2010 24 12 10.17 0.3 Haralabos Papadias GRE 3 Budapest 1998 24 12 10.17 -1.2 Emanuele Di Gregorio IA 2sf1 Barcelona 2010 26 14 10.18 1.5 Bruno Marie -Rose FRA 2sf1 Stuttgart 1986 26 10.18 -1.0 Mark Lewis Francis 2 Barcelona 2010 -
Picture This: Musical Imagery
NASHVILLE SYMPHONY YOUNG PEOPLE’S CONCERTS PICTURE THIS: MUSICAL IMAGERY GRADES 5-8 TABLETABLE OFOF CONTENTSCONTENTS 3 Letter from the Conductor 4 Concert Program 5 Standard Equivalencies 6 Music Resources 7-9 Lesson Plan #1 10-11 Lesson Plan #2 12-13 Lesson Plan #3 14-26 Teacher Resources 27 Pre-Concert Survey 28 Post-Concert Survey 29 Contact Information 30 Sponsor Recognition LETTER FROM THE CONDUCTOR Dear teachers and parents, Welcome to the Nashville Symphony’s Young People’s Concert: Picture Tis! Music has the power to evoke powerful imagery. It has the power to stir our imaginations, express beautiful landscapes, and create thrilling stories. Tis concert will explore images created by some of the world’s greatest composers including Rossini, Grieg, Stravinsky, Prokofev, and Ravel. Te Education and Community Engagement department has put together these lesson plans to help you prepare your students for the concert. We have carefully designed activities and lessons that will coincide with the concepts we will be exploring during the performance. I encourage you to use this guide before or afer the concert to enhance your students’ musical experience. Trough a partnership with NAXOS, we are also able to ofer free online streaming of music that will be featured in the concert. We hope you enjoy! We look forward to seeing you at the Schermerhorn Symphony Center to hear Nashville’s biggest band! Sincerely, Vinay Parameswaran 3 CONCERTCONCERT PROGRAMPROGRAM YOUNG PEOPLE’S CONCERTS PICTURE THIS: MUSICAL IMAGERY GRADES 5-8 October 20th at 10:15am and 11:45am Concert Program Edvard Grieg | “Morning Mood” from Peer Gynt Suite Gioachino Rossini | “Overture” from Barber of Seville Sergei Prokofev | “Tröika” from Lt. -
Contents and Sample Pages (PDF)
!"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<5' MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC Edited by STANLEY BOORMAN VOLUME LVIII, 2013 American Institute of Musicology !"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<56 MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC VOLUME LVIII, 2013 Edited by STANLEY BOORMAN Editorial Board Tim Carter University of North Carolina at Chapel Hill, USA Anthony Cummings Lafayette College, USA Mark Everist University of Southampton, GB Dinko Fabris Conservatorio di Bari, Italy Barbara Haggh University of Maryland, USA David Hiley Universität Regensburg, Germany Karl Kuegle Universiteit Utrecht, Netherlands Birgit Lodes Universität Wien, Austria Laurenz Luetteken Universität Zurich, Switzerland Anne MacNeil University of North Carolina at Chapel Hill, USA Anne Smith Schola Cantorum Basiliensis, Switzerland Anne Stone CUNY, USA AMERICAN INSTITUTE OF MUSICOLOGY The American Institute of Musicology publishes seven series of critical editions, scholarly studies, reference works, and this journal, all dedicated to the study of the music and culture of the Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music, theoretical writings on music, and the scholarly analysis of that music and its sources. For information on establishing a standing order or subscription to this journal or any of our series, or for editorial guidelines on submitting proposals, please contact: American Institute of Musicology 800 736-0070 (U.S. book orders) / 608 836-9000 (phone) / 608 831-8200 (fax) http://www.corpusmusicae.com [email protected] / [email protected] © 2013 by the American Institute of Musicology, Verlag Corpusmusicae, GmbH, Münster, Germany and Middleton, WI, USA. -
Diamm Facsimiles 6
DIAMM FACSIMILES 6 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIAMM COMMITTEE MICHAEL BUDEN (Faculty Board Chair) JULIA CAIG-McFEELY (Diamm Administrator) MATIN HOLMES (Alfred Brendel Music Librarian, Bodleian Library) EMMA JONES (Finance Director) NICOLAS BELL HELEN DEEMING CHISTIAN LEITMEIR OWEN EES THOMAS SCHMIDT diamm facsimile series general editor JULIA CAIG-McFEELY volume editors ICHAD WISTEICH JOSHUA IFKIN The ANNE BOLEYN MUSIC BOOK (Royal College of Music MS 1070) Facsimile with introduction BY THOMAS SCHMIDT and DAVID SKINNER with KATJA AIAKSINEN-MONIER DI MM facsimiles © COPYIGHT 2017 UNIVERSITY OF OXFORD PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-06-2 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The UK Copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Thomas Schmidt, David Skinner and Katja Airaksinen-Monier assert the right to be identified as the authors of the introductory text. Rights to all images are the property of the Royal College of Music, London. Images of MS 1070 are reproduced by kind permission of the Royal College of Music. Digital imaging by DIAMM, University of Oxford Image preparation, typesetting, image preparation and page make-up by Julia Craig-McFeely Typeset in Bembo Supported by The Cayzer Trust Company Limited The Hon. Mrs Gilmour Printed and bound in Great Britain by Short Run Press Exeter CONTENTS Preface ii INTODUCTION 1. -
Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries
Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries Leeman L. Perkins In her detailed and imaginative study of the concept of the musical work, The Imag;inary Museum of Musical Works (1992), Lydia Goehr has made the claim that, prompted by "changes in aesthetic theory, society, and poli tics," eighteenth century musicians began "to think about music in new terms and to produce music in new ways," to conceive of their art, there fore, not just as music per se, but in terms of works. Although she allows that her view "might be judged controversial" (115), she asserts that only at the end of the 1700s did the concept of a work begin "to serve musical practice in its regulative capacity," and that musicians did "not think about music in terms of works" before 1800 (v). In making her argument, she pauses briefly to consider the Latin term for work, opus, as used by the theorist and pedagogue, Nicolaus Listenius, in his Musica of 1537. She acknowledges, in doing so, that scholars in the field of music-especially those working in the German tradition-have long regarded Listenius's opening chapter as an indication that, by the sixteenth century, musical compositions were regarded as works in much the same way as paintings, statuary, or literature. She cites, for example, the monographs devoted to the question of "musical works of art" by Walter Wiora (1983) and Wilhelm Seidel (1987). She concludes, however, that their arguments do not stand up to critical scrutiny. There can be little doubt, surely, that the work-concept was the focus of a good deal of philosophical dispute and aesthetic inquiry in the course of the nineteenth century.