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American Viola Society Newsletter No. 17, November 1979
AMERICAN VIOLA SOCIETY (formerly Viola Research Society) American Chapter of the INTERNATIONALE VIOLA FORSCI.IUNGSGESELLSCIIAFT ------------ __-,l-_lll_--II_ ..s-- November NEWSLETTER 17 1979 ----- - -- ----I- "YOU'VE COME A LONG WAY, BABY! " A REPCRT ON TH3 SEVZKTE INTERXATIC'NAL VIOLA CONGRESS PROTJO, UTAH The Seventh International Viola Congress, which took place July 12, 13, and 14 on the canipus of Eriehan; Young University, was a very epecial event on several counts. Sponsored by the American Viola Society and Brieham Youne University, the congress was held in t.he Frenklln S, Harris Fine Arts Center--& superb ccmplex that offered first-class concert halls, lecture roous, and exhibition galleries. Two celebrations, important to violists, took place durine the congress. The first was an anticipatory musics1 and biographical celebration of the 100th birthday of Ernest Bloch (born 1880), manifested by performances of all his worke for viola and a talk on his life and music by Suzanne Bloch, his dsuehter. The second was the 75th birthday of William Primrose. The viclists heard during the three days represented a stunning and consi~tentlyhigh level of performance--so~ethM that has become more and more the norm for viola playing today and synonymous with American strine playing in eeneral. Dr. David Dalton, the hoet chairperson of the congress and a mezber of BYU's ffiusic faculty, did an outstanding Job of oreanizinfr and oversaeing the congress, aided by the university 'a Music Department faculty and staff. No large meetine can be without flaws, but this caneress was one of the smocthest and least-blemished ever witnessed by this writer. -
RCM Clarinet Syllabus / 2014 Edition
FHMPRT396_Clarinet_Syllabi_RCM Strings Syllabi 14-05-22 2:23 PM Page 3 Cla rinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. -
Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op
Alternative Strategies for the Refinement of Bassoon Technique Through the Concert Etudes, Op. 26, by Ludwig Milde Item Type Electronic Dissertation; text Authors Zuniga Chanto, Fernando Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 13:14:01 Link to Item http://hdl.handle.net/10150/145124 ALTERNATIVE STRATEGIES FOR THE REFINEMENT OF BASSOON TECHNIQUE THROUGH THE CONCERT ETUDES, OP. 26, BY LUDWIG MILDE by Fernando Zúñiga Chanto ______________________________ Copyright © Fernando Zúñiga Chanto 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Fernando Zúñiga Chanto entitled Alternative Strategies for the Refinement of Bassoon Technique Through The Concert Etudes, Op. 26, by Ludwig Milde and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 4/18/2011 William Dietz Date: 4/18/2011 Jerry Kirkbride Date: 4/18/2011 Brian Luce Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Oefeningen Voor Een Derde Oog
Oefeningen voor een derde oog Dick Hillenius bron Dick Hillenius, Oefeningen voor een derde oog. De Arbeiderspers, Amsterdam 1965 Zie voor verantwoording: http://www.dbnl.org/tekst/hill005oefe01_01/colofon.htm © 2007 dbnl / erven Dick Hillenius 7 ± Chronologisch Dick Hillenius, Oefeningen voor een derde oog 9 [I] RESTJES WEESHUIS Ordesa 20 juli 1963. Toen wij de eerste keer met Tycho op reis wilden - hij was toen 10 maanden - kwamen er alle mogelijke betuttelaars in de weer. L. kwam zelfs met haar psychiater aandragen, vol afgrijzen over het te kwetsen zieleheil en dat het kind er nog jaren later moeilijkheden van zou ondervinden. Op die tientallen die zich vol bezorgdheid keren tegen het meenemen van kinderen op reis, is er nooit één die problemen ziet in het achterlaten bij verzorgers of in een tehuis. Ik weet niet, misschien is dat bij elk kind weer anders, maar wat mij zelf betreft ondervind ik nu, na bijna dertig jaar, de herinnering aan het 4 weken verzorgd achtergelaten zijn in een Hervormd Weeshuis, als een niet verdwenen aantasting. Een week voordat mijn jongste broer werd geboren, op mijn zevende verjaardag, werden mijn andere broer en ik door een tante die werksterdiensten verrichtte in de familie naar het Hervormde Weeshuis gebracht in de Volkerakstraat. Ik herinner me van de eerste dag een man met lange witte baard, de directeur, manden met potten jam, kinderen joelend op de binnenplaats. De kinderen droegen een uniform in de stijl van de tekeningen van Jetses, in de boekjes van Ot en Sien, mode van ±40 jaar tevoren. De meisjes droegen lang haar tot op de schouders (kort was toen mode), de jongens waren kaal met een kuifje van voren. -
Concerts from the Library of Congress 2012-2013
Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J. -
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. -
Constellations Persichetti @ 100 and Music From
2015/16 Season: Constellations Persichetti @ 100 and Music from the Generation He Inspired 31ST SEASON 17 & 18 October, 2015 Curtis Institute of Music Philadelphia, PA Introduction: Vincent Persichetti @ 100 Vincent Persichetti was one of the most widely respected musicians of his generation. A prolific composer, brilliant educator and lecturer, and prodigious pianist, he composed more than 150 works in virtu- ally all genres and for virtually all performing media, while serving for 40 years on the faculty of the Juilliard School, many of them as chairman of the composition department. During his lifetime Persichetti influenced the musical lives of thou- sands of people from all walks of life, and his name came to signify a comprehensive musicianship virtually unparalleled among American composers. Countless young pianists were nurtured on his sonatinas and the Little Piano Book, while many other young instrumental students first experienced serious contemporary music through his works for band; church choirs turned to his Hymns and Respons- es for the Church Year as an inexhaustible resource, while many young composers have found his classic textbook Twentieth Century Harmony to be an indispensable tool; among professional soloists and conductors his sonatas, concertos, and symphonies stood among the masterworks of American music. Throughout his life Persichetti encouraged healthy, creative participation in music at all levels of proficiency, while shunning dogmas that advocated one composition- al approach at the expense of others. He was beloved and admired as a teacher, and was in great demand as a lecturer, using his comprehensive knowledge of the repertoire, extraordinary gift for improvisation, awe-inspiring piano technique, and mischievous wit to captivate audiences. -
Escola Francesa De Clarinete José Eduardo Guerra Viana
MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana SETEMBRO/2017 ESMAE ESCOLA SUPERIOR DE MÚSICA E ARTES DO ESPETÁCULO POLITÉCNICO DO PORTO MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA M Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana Projeto apresentado à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Música – Interpretação Artística, especialização Sopros, Clarinete Professor Orientador Nuno Fernandes Pinto SETEMBRO/2017 2 Dedico este trabalho aos meus pais, ao meu irmão e aos amigos pelo incansável apoio. iii Agradecimentos Ao meu pai, à minha mãe e ao meu irmão pelo incondicional apoio, carinho e paciência, que nunca lhes poderei retribuir. À restante família, que sempre me apoiou. A todos os meus amigos e um especial agradecimento ao Diogo Taveira, pela sua amizade e ajuda incansável. Aos professores Luís Santos e Michel Arrignon, que para além de todo o conhecimento que me transmitiram no clarinete e na música, transmitiram valores para a vida toda. Por último, ao professor Nuno Pinto, que para além de meu professor, orientador e referência clarinetística, é um amigo que irei preservar. iv Resumo Este trabalho propõe entender as bases e as características representativas da Escola Francesa de Clarinete. É composto por uma contextualização do Conservatório de Paris, desde os seus Professores às obras escritas para o Concours de Prix, que tanta influência teve sobre esta Escola. São, também, abordados dois momentos marcantes na evolução organológica do clarinete realizado por Ivan Müller e Hyacinthe Klosé. Neste trabalho é também apresentada uma breve análise sobre quatro obras que espelham esta Escola. -
Concert & Recital Programs Concert & Recital Programs
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-10-2012 Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest Ithaca College Choir Lawrence Doebler Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choir and Doebler, Lawrence, "Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest" (2012). All Concert & Recital Programs. 4058. https://digitalcommons.ithaca.edu/music_programs/4058 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. THE THIRTY-FOURTH ANNUAL ITHACA COLLEGE CHORAL COMPOSITION CONTEST Sponsored jointly by Ithaca College and Roger Dean Publishing Company Ford Hall Saturday November 10th, 2012 7:00 pm ITHACA COLLEGE THIRTY-FOURTH ANNUAL CHORAL COMPOSITION CONTEST AND FESTIVAL Sponsored jointly by Ithaca College and Roger Dean Publishing Company Professor Lawrence Doebler founded the Choral Composition Festival in 1979 to encourage the creation and performance of new choral music and to establish the Ithaca College Choral Series. Six scores were chosen for performance this evening from entries submitted from around the world. The piece …to balance myself upon a broken world (September, 1918) (Amy Lowell) by Paul Carey was commissioned by Ithaca College and -
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. -
Parafrasi Per Flauto E Pianoforte Sulle Opere Di Giuseppe Verdi
Parafrasi per fl auto e pianoforte sulle opere di Giuseppe Verdi ARCADIO BARACCHI ANDREA TROVATO 850001_Booklet.indd 1 24/03/15 16:17 Tactus Termine latino con il quale, in epoca rinascimentale, si indicava quella che oggi è detta «battuta». The Renaissance Latin term for what is now called a measure. 2015 Tactus s. a. s. di℗ Gian Enzo Rossi & C. www.tactus.it In copertina / Cover: La Traviata - Der Eklat am Spieltisch Attributed to Carl Henrik d’Unker (1828-1866) Si ringrazia l’Accademia Musicale di Firenze per la cortese disponibilità. 24 bit digital recording Tecnico del suono, editing: Marzio Benelli Mastering: Giuseppe Monari Flauto discendente al si a fori aperti Pearl in do Pianoforte Yamaha C7 English Translation: Marta Innocenti L’editore è a disposizione degli aventi diritto. 850001_Booklet.indd 2 24/03/15 16:17 Il bicentenario della nascita di Giuseppe Verdi (Roncole di Busseto, 1813 - Milano, 1901) ha offerto una nuova occasione per riscoprire quanto il compositore italiano abbia influito sull’intero mondo musicale, ben al di là dei teatri d’opera e del genere del melodramma. Molte proposte legate all’anniversario hanno evidenziato un’estrema attenzione ad individuare la presenza del musicista in repertori svariati, magari estranei alla sua diretta produzione, geograficamente disseminati in tutto il mondo e cronologicamente a lui non sempre prossimi. È risultato da tali operazioni un arricchimento della nostra conoscenza, già assai vasta e ramificata, non tanto dell’autore in sé, quanto della sua incidenza e della sua estrema popolarità, da quand’egli era in vita sino ai giorni nostri. Questo cd rientra in questo tipo d’operazione e offre all’ascoltatore l’opportunità, sino ad oggi piuttosto rara, d’incontrare la musica di Verdi attraverso il filtro della rielaborazione cameristica e tutta strumentale per flauto e pianoforte. -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.