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JOSE De JUAN MARTINEZ' METODO DE CLARIN (1830)
92 HISTORIC BRASS SOCIETY JOURNAL JOSE de JUAN MARTINEZ' METODO DE CLARIN (1830) Introduction and translation by B. Kenyon de Pascual INTRODUCTION ince most readers will not be familiar with the history and terminology of Spanish brass instruments, it would seem appropriate to introduce Jose de Juan's tutor in its Spanish context. The first point that may usefully be considered is the type of S clarin instrument for which the work was written. The Spanish word has been used for a variety of instruments at different times in the past. It is first to be met with in the literature of the late Middle Ages and the Renaissance. Its use was recorded in the 16th century for processions and bullfights but not for sounding the seven army calls. These were the prerogative of the trumpeters of the Italian school (tromp etas italianos), who were examined by the guild. In the definitions for clarin and bastardo to be found in S. Covarrubias's dictionary Tesoro de la lengua castellana o espanola (Madrid, 1611) the c/arin is described as a small, high-pitched trumpet with a clear and delicate sound. When players using clarino technique reached Spain in the 17th (?) century, they and their instruments were also called clarines. The first cLirin to be officially appointed to the Spanish Chapel Royal was Josef Losqui, or Loschi, described as a Venetian. He was given the post in 1679 (with the obligation to teach interested choirboys) and was succeeded in 1697 by his Spanish pupil and son-in-law, Gregorio Fernandez de la Cuerda. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Catalogue of Works Barry Peter Ould
Catalogue of Works Barry Peter Ould In preparing this catalogue, I am indebted to Thomas Slattery (The Instrumentalist 1974), Teresa Balough (University of Western Australia 1975), Kay Dreyfus (University of Mel- bourne 1978–95) and David Tall (London 1982) for their original pioneering work in cata- loguing Grainger’s music.1 My ongoing research as archivist to the Percy Grainger Society (UK) has built on those references, and they have greatly helped both in producing cata- logues for the Society and in my work as a music publisher. The Catalogue of Works for this volume lists all Grainger’s original compositions, settings and versions, as well as his arrangements of music by other composers. The many arrangements of Grainger’s music by others are not included, but details may be obtained by contacting the Percy Grainger Society.2 Works in the process of being edited are marked ‡. Key to abbreviations used in the list of compositions Grainger’s generic headings for original works and folk-song settings AFMS American folk-music settings BFMS British folk-music settings DFMS Danish folk-music settings EG Easy Grainger [a collection of keyboard arrangements] FI Faeroe Island dance folk-song settings KJBC Kipling Jungle Book cycle KS Kipling settings OEPM Settings of songs and tunes from William Chappell’s Old English Popular Music RMTB Room-Music Tit Bits S Sentimentals SCS Sea Chanty settings YT Youthful Toneworks Grainger’s generic headings for transcriptions and arrangements CGS Chosen Gems for Strings CGW Chosen Gems for Winds 1 See Bibliography above. 2 See Main Grainger Contacts below. -
Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
Vahdah Olcott-Bickford Collection, 1800-2008
http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist. -
2019 Roslindale Porch Fest Schedule by Zone
Zone 1- North of Adams Park between Belgrade & Washington 1:30-2:30pm Description 3:00-4:00pm Description 4:30-5:30pm Description Barry Hynes Singer/guitarist doing covers, with Barry Hynes Singer/guitarist doing covers, with 1 39 Ardale Band special guests Band special guests Muddy River Trio with banjo, guitar, Muddy Artisan Cheese Singer, guitarist, bass player and harmonica & vocals. American River/Artisan drummer playing covers, from the 2 97 Ardale roots music. Cheese 80's to today. Basement Covers of some of our favorite The Nocturnal Duo with Bass,Vocals & Mandolin. Martin, Morell Power trio composed of Boston Ramblers tunes from last 50 years or so Adoration Original music, fast, slow, medium. and Fredette music veterans Eric Martin, Steve 3 37 Fairview Society Morell & David Fredette. Sleepyhead- Pop/Rock. A touch of Big Star and a 4 25 Farquhar little side of Fleetwood Mac The Melted Classic Rock Band. 2 guitars Coo & Howl Quintet (3/5 from Rozzie): lead Chapstixs Bass and Lead singer. vocalist, bassist, guitarist, keys/backup vocalist, & 1aux- percussionist. Mostly original 5 46 Farquhar rock/folk. This Crazy Acoustic-electric duo playing Birds aren’t 5 person band, guitarist,bassist, Thing an eclectic mix of well-known real piano, drums, & vocals classic pop/rock from the 60's 6 16 Fletcher /70s / 80s / 90s / 00s The Next Band jazz ensemble with drums, The Grand Original rock songs intended to Theo's Little Vocal Pop Band (covers) bass, guitar, trumpet, flute & Undoing accompany the big slide off of the Combo 7 109 Hewlett vocalist dish. -
A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life. -
Old Toy Soldier Squad
EPIC SOLDIER SALE 26 Epic Soldier Sale Featuring the Lloyd Bradley Composition Collection Auction #26 Friday, June 3rd, 2016 ~ 1pm E.S.T. ~ Lots 1001-1497 Saturday, June 4th, 2016 ~ 10am E.S.T. ~ Lots 2001-2517 & 3001-3300 Old Toy Soldier Auctions U.S.A. Sunday, June 5th, 2016 ~ 10am E.S.T. ~ Lots 4001-4607 P.O. Box 13323 • Pittsburgh, PA 15243 Buyers Premium 23% Discounted to 20% for Check or Cash 412-343-8733 1-800-349-8009 Website: Shipping: Fax 412-344-5273 oldtoysoldierauctions.com Day 1: June 3, 2016 [email protected] Breanne Day www.oldtoysoldierauctions.com Preview Auction at: Lots 1001-1497 facebook.com/oldtoysoldier Liveauctioneers.com or @oldtoysoldier oldtoysoldierauctions.com Day 2: June 4, 2016 oldtoysoldier 3 weeks prior to sale Breanne Day Lots 2001-2517 Bid Live Online the Day of Sale at: Lloyd Bradley Liveauctioneers.com Lots 3001-3300 Mail Bids & Payments To: Day 3: June 5, 2016 Old Toy Soldier Auctions Joe Saine P.O. Box 13323, Pittsburgh, PA 15243 Lots 4001-4607 Call Bids To: Prices Realized: Ray Haradin 412-343-8733 Liveauctioneers.com or or 1-800-349-8009 oldtoysoldierauctions.com after the sale closes Fax Bids To: 412-344-5273 Email Bids To: [email protected] Ray Haradin Absentee & Phone Bidding Deadline: 412-343-8733 or 1-800-349-8009 Thursday, June 2nd, 2016 - 7 PM E.S.T. [email protected] You must register online by this time to bid live online. 1 OLD TOY SOLDIER SQUAD SPECIALIST SQUAD Ray Haradin ~ Pittsburgh, PA Britains, German Lead, Bob Phillips - Dimestore and Connoisseur Trabuco Canyon, CA Figures, Early Toys -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Acoustic Guitar
794 ACOUSTICACOUSTIC GUITARGUITAR ACOUSTIC THE ACOUSTIC INCLUDES THE NEW TAB NEW GUITAR GUITAR COMPLETE INCLUDES MAGAZINE’S PRIVATE METHOD, ACOUSTIC TAB LESSONS VOLUME 1 BOOK 2 GUITAR METHOD 24 IN-DEPTH LESSONS by David Hamburger LEARN TO PLAY USING String Letter Publishing String Letter Publishing THE TECHNIQUES & With this popular guide and Learn how to alternate the bass SONGS OF AMERICAN two-CD package, players will notes to a country backup ROOTS MUSIC learn everything from basic pattern, how to connect chords by David Hamburger techniques to more advanced with some classic bass runs, and String Letter Publishing moves. Articles include: Learning to Sight-Read (Charles how to play your first fingerpicking patterns. You’ll find out A complete collection of all three Acoustic Guitar Method Chapman); Using the Circle of Fifths (Dale Miller); what makes a major scale work and what blues notes do to books and CDs in one volume! Learn how to play guitar Hammer-ons and Pull-offs (Ken Perlman); Bass Line a melody, all while learning more notes on the fingerboard with the only beginning method based on traditional Basics (David Hamburger); Accompanying Yourself and more great songs from the American roots repertoire American music that teaches you authentic techniques and (Elizabeth Papapetrou); Bach for Flatpickers (Dix – especially from the blues tradition. Songs include: songs. Beginning with a few basic chords and strums, Bruce); Double-Stop Fiddle Licks (Glenn Weiser); Celtic Columbus Stockade Blues • Frankie and Johnny • The Girl you’ll start right in learning real music drawn from blues, Flatpicking (Dylan Schorer); Open-G Slide Fills (David I Left Behind Me • Way Downtown • and more. -
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®r?IDIDill ~ [Il ilU) (B ®(!]CB©ill (formerly the RegaI) ~filrflliil@filrr~llio I1© [Il (ll © U) l1 ~ [Il~ nG) rn (ll Console of the· Christie in the Odeon, Marble Arch, London. By British A. T .O.E. Member done when an organ builder is given a her 1928, which incidentally was the DAVID H. HAYES free hand and allowed to express his same year and month as the opening of individuality without being unduly the first four manual Wurlitzer in Britain hampe red by commercial restrictions". at The Empire, Leicester Square (now The above is the opinion of the late demolished), but the organ was saved "The organ at the Regal, Marble Quentin M. Maclean, who drew up the by T .O.C. member Leo Rawle. I say Arch, is to my mind, one of the most original s pee ific ations with Mr. Norman 'installed just in time' because behind characteristic creations of that great of Messrs. Wm. Hill and Norman and scenes at most official openings there artist, Herbert Norman, and as such it Beard Ltd., well known British firms of is usually a panic, but this was more commands the respect and admiration of straight organ builders and of Christie · apparent at the Regal. The builders got all organ lovers. The Regal is not a Unit Organs. Also included in these so behind schedule that they had to large theatre, and its interior decoration consultations was the late Arthur Meale, work overtime with extra shifts. This in scheme is of an intimate and delicate who at that time was one of the most turn put everyone else behind - the character: hence the organ partakes of famous recitalists in the country, and electricians, the furnishers, the decora the same nature and blends perfectly official organist at the Methodist Cen tors, not to mention the organ builders. -
Trumpet Music by Women Composers
Trumpet Music by Women Composers Amy Dunker, DMA Professor of Music Theory, Composition and Trumpet Clarke University 1550 Clarke Drive Dubuque, IA 52001 [email protected] www.amydunker.com If you perform a composer’s work, please email them and/or send them a program. It is important to know that your work is appreciated! Trumpet Alone Beamish, Sally: Fanfare for Solo Trumpet (Trumpet Alone) http://www.warwickmusic.com/Main-Catalogue/Sheet-Music/Trumpet/Solo-Trumpet/Beamish-Fanfare- for-Solo-Trumpet-TR065 Beat, Janet: Fireworks in Steel (Trumpet Alone) http://furore-verlag.de/shop/noten/trompete/ Bernofsky, Lauren: Fantasia (Trumpet Alone) http://laurenbernofsky.com/works.php Bielawa, Lisa: Synopsis No. 5 (Trumpet Alone) http://lisabielawa.typepad.com/works_section/ Bingham, Judith: Enter Ghost Act 1, Scene 3 of Hamlet (Trumpet Alone) http://www.sheetmusicplus.com/title/enter-ghost-act-1-scene-3-of-hamlet-2002-sheet-music/19110817 Bouchard, Linda: Propos (Trumpet Alone or Trumpet Ensemble) http://www.musiccentre.ca/node/21128 Campbell, Karen: Pieces (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=85460 Clarke, Rosemary: Winter’s Winds (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=86228 Cronin, Tanya: Undercurrents (Trumpet Alone) http://library.newmusicusa.org/library/composition.aspx?CompositionID=86700 Dinescu, Violeta: Abendandacht (Trumpet Alone) http://www.composers21.com/compdocs/dinescuv.htm Dunker, Amy: Advanced Solos (Trumpet Alone) 1. "Distant