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SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert’S Lieder
SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert's Lieder by Dylan J. Nagler '14 submitted in partial fulfillment of the requirements for an AB degree with honors in Computer Science and Music Departments of Computer Science and Music Harvard College March 3, 2014 ABSTRACT This paper compares various methods for automated musical analysis, applying machine learning techniques to gain insight about the Lieder (art songs) of com- poser Franz Schubert (1797-1828). Known as a rule-breaking, individualistic, and adventurous composer, Schubert produced hundreds of emotionally-charged songs that have challenged music theorists to this day. The algorithms presented in this paper analyze the harmonies, melodies, and texts of these songs. This paper begins with an exploration of the relevant music theory and ma- chine learning algorithms (Chapter 1), alongside a general discussion of the place Schubert holds within the world of music theory. The focus is then turned to automated harmonic analysis and hierarchical decomposition of MusicXML data, presenting new algorithms for phrase-based analysis in the context of past research (Chapter 2). Melodic analysis is then discussed (Chapter 3), using unsupervised clustering methods as a complement to harmonic analyses. This paper then seeks to analyze the texts Schubert chose for his songs in the context of the songs' relevant musical features (Chapter 4), combining natural language processing with feature extraction to pinpoint trends in Schubert's career. Table of Contents Chapter 1{Introduction A Brief Explanation of Tonal Harmony . 4 Hierarchical Musical Analysis . .6 Descriptive Theories of Schubert's Harmony . 9 A Primer on Machine Learning Algorithms . -
Thursday 9 September 2021 7.30Pm
Thursday 9 September 2021 7.30pm Jonathan Plowright piano César Franck (1822-1890) Prélude, fugue et variation Op. 18 (1860-62) transcribed by Ignaz Friedman Fryderyk Chopin (1810-1849) Nocturne in B Op. 9 No. 3 (1830-31) Fantasy in F minor Op. 49 (1841) Jacques Ibert (1890-1962) Histoires (1920-21) La meneuse de tortues d'or • Le petit âne blanc • Le vieux mendiant • 'A Giddy Girl' • Dans la maison triste • Le palais abandonné • Bajo la mesa • La cage de cristal • La marchande d'eau fraîche • Le cortège de Balkis Interval Franz Schubert (1797-1828) Piano Sonata in B flat D960 (1828) I. Molto moderato • II. Andante sostenuto • III. Scherzo: Allegro vivace con delicatezza – Trio • IV. Allegro ma non troppo Welcome back to Wigmore Hall We are grateful to our Friends and donors for their generosity as we rebuild a full series of concerts in 2021/22 and reinforce our efforts to reach audiences everywhere through our broadcasts. To help us present inspirational concerts and support our community of artists, please make a donation by visiting our website: wigmore-hall.org.uk/donate. Every gift is making a difference. Thank you. Wigmore Hall is a no smoking venue. No recording or photographic equipment may be taken into the auditorium nor used in any other part of the Hall without the prior written permission of the management. In accordance with the requirements of City of Westminster persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any other gangways. -
A Master's Recital in Clarinet
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 A master's recital in clarinet Sayyod Mirzomurodov University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Sayyod Mirzomurodov Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Mirzomurodov, Sayyod, "A master's recital in clarinet" (2019). Dissertations and Theses @ UNI. 974. https://scholarworks.uni.edu/etd/974 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. A MASTER’S RECITAL IN CLARINET An Abstract of a Recital Submitted In Partial Fulfillment Of the Requirements for the Degree Master of Music Sayyod Mirzomurodov University of Northern Iowa May 2019 This Abstract by: Sayyod Mirzomurodov Entitled: A Master’s Recital in Clarinet Has been approved as meeting the abstract requirement for the Degree of Master of Music ___________ _____________________________________________________ Date Dr. Amanda McCandless, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. Danny Galyen, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Cayla Bellamy, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Sayyod Mirzomurodov Entitled: A Master’s Recital in Clarinet Date of Recital: March 26, 2019 Has been approved as meeting the abstract requirement for the Degree of Master of Music ___________ _____________________________________________________ Date Dr. Amanda McCandless, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. -
Javier Arrebola an Die Musik Photo: Heikki Tuuli Heikki Photo: (Spain, 1981) 1981) (Spain, Arrebola Javier He Pianist
Javier Arrebola An die Musik Arrebola Javier Photo: Heikki Tuuli Photo: Javier Arrebola (Spain, 1981) is an international pianist. He mainly studied at and gradu- ated from the Madrid Royal Conservatory and the Sibelius Academy in Helsinki. One of his most recent projects has been the public performance of all of Franz Schubert’s finished piano sonatas both on historical forte- pianos and on modern instru- ments. www.javierarrebola.com Javier Arrebola An die Musik Doctoral Concert Series Programme Notes Arrebola17_24_2.indd 1 3.10.2012 16.49 An die Musik Doctoral Concert Series Programme Notes Javier Arrebola ISBN 978-952-5959-35-2 (Paperback) ISBN 978-952-5959-37-6 (Electronic Version) Ochando Press Lucena (Spain), 2012 Javier Arrebola © 2012 DocMus Doctoral School Sibelius Academy Helsinki (Finland) Cover: Harfner und Mignon. Drawing by Woldemar Friedrich (1846-1910). Back cover: Die Feier von Schuberts 100 Geburtstag im Himmel. Lithograph by Otto Böhler (1847-1913). ii To all Schubertians iii iv Contents Introduction vii Part I 1817 1 Part II An 1819 Schubertiade 13 Part III 1825 25 Part IV So lasst mich scheinen 39 Part V 1828 – The Final Year 51 Notes 62 v vi Introduction Between 2010 and 2012, and as part of my doctoral studies at the Sibelius Academy in Helsinki (Finland), I had the opportunity of carrying out a fascinating project: the public performance of all of Franz Schubert’s finished sonatas for piano. This document is a compilation of the texts that I wrote for each of the five concerts of the series, and serves as a complement to my doctoral thesis on Schubert’s unfinished piano sonatas. -
1493901395-Sigcd398booklet.Pdf
THE CAPTIVE NIGHTINGALE Nineteenth century art song was firmly harnessed That much of the music on this disc was long to the instrument found in every genteel forgotten is symptomatic of the neglect of this GERMAN ROMANTIC RARITIES home – the piano. Other available players were repertoire. A ‘Lieder recital’ gradually established FOR SOPRANO, CLARINET & PIANO eagerly welcomed to the salon and editions were itself in the concert hall rather than the published with ad libitum or obbligato parts household, predominantly with voice and piano for violin, flute, horn, cello, harmonium, and the alone, and the twentieth century turned a instrument outstandingly raised in status by largely deaf ear to the perceived sentimentality 1 Alpenlied | Song of the Alps Andreas Späth (1792-1876) [3.31] Mozart and Weber, and well suited in range and or Biedermeier qualities of ‘salon music’. 2 Das Mühlrad | The Mill-Wheel Conradin Kreutzer (1780-1849) [5.06] tone colour – the clarinet. The winning combination Discovering items long overlooked can bring 3 Schweitzers Heimweh | Homesick for Switzerland Heinrich Proch (1809-1878) [5.00] of voice, clarinet and piano delighted intimate many rewards. One item in this recital, the 4 Die gefangene Nachtigall | The Captive Nightingale * Heinrich Proch [5.02] gatherings and inspired many lovely works. iconic song for this combination, Schubert’s 5 Heimathlied | Home Song Johann Baptist Wenzel Kalliwoda (1801-1866) [4.03] Shepherd on the Rock, has always been admired 6 Seit ich ihn gesehen | Ever Since I Saw Him Franz Lachner (1803-1890) [4.54] Musical history owes much to clarinettists and performed, and exerted its influence in whose talents stimulated a series of subject matter and style on others heard here. -
ROCKPORT CHAMBER MUSIC FESTIVAL PROGRAMS 2002-2006 Location: Rockport Art Association
ROCKPORT CHAMBER MUSIC FESTIVAL PROGRAMS 2002-2006 Location: Rockport Art Association 2002 June 6-June 30, 2002 David Deveau, artistic director Thursday, June 6, 2002 Opening Night Gala Concert and Champagne Reception Elizabeth Printy, soprano Laura Ardan, clarinet David Finch, cello William Ransom, piano From Sechs Deutsche lieder (Six German Songs) Louis Spohr (1784-1859) Op. 103 for soprano, clarinet and piano (1837) Der Hirt Auf dem Felsen (The Shepherd on the Rock) Franz Schubert (1797-1828) For soprano, clarinet and piano (1828) Trio for clarinet, cello and piano in E-flat major, Op. 38 (1803) Ludwig van Beethoven (1770-1827) Friday, June 7, 2002 Peter Serkin, piano Sonata No. 30 in E major, Op. 109 (1820) Ludwig van Beethoven (1770-1827) Passacaglia (The Last of Four Studies on Basic Rows (1935-6) Stefan Wolpe (1902-72) Thirty-three Variations on a Theme of Diabelli, Op. 120 (1823) Beethoven Saturday, June 8, 2002 Ronald Copes, violin Jennifer Culp, cello David Deveau, piano Piano Trio in G major, Hob. XB.25, Gypsy (1795) Franz Joseph Haydn (1732-1809) Hungarian Rhapsody, No. 13 in A minor Franz Liszt (1811-86) Piano Trio in E minor, Op. 90 Dumky Antonín Dvořák (1841-1904) Sunday, June 9, 2002 Stefan Jackiw, violin David Deveau, piano Richard Knisely, narrator William Ransom, piano Sonata No. 2 for violin and piano in A major, Op. 100 Johannes Brahms (1833-97) Enoch Arden (1897) Richard Strauss (1864-1949) (text by Alfred Lord Tennyson) Thursday, June 13, 2002 Jennifer Frautschi, violin Eric Ruske, horn Ken Noda, piano Pre-concert lecture, John Harbison Sonatina for violin and Piano Antonín Dvořák (1841-1904) Twilight Music for horn, violin and piano John Harbison (b.1938) Four Songs of Solitude for solo violin (1985) Harbison Trio in E-flat major, Op. -
Artist Series – Gilbert Kalish Program Notes on The
ARTIST SERIES – GILBERT KALISH PROGRAM GEORGE CRUMB (b. 1929) Three Early Songs for Voice and Piano (1947) Night Let It Be Forgotten Wind Elegy Tony Arnold, soprano • Gilbert Kalish, piano FRANZ SCHUBERT (1797-1828) “Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965, Op. 129 (1828) Lisette Oropesa, soprano • David Shifrin, clarinet • Gilbert Kalish, piano JOHANNES BRAHMS (1833-1897) Quartet No. 3 in C minor for Piano, Violin, Viola, and Cello, Op. 60 (1855-56, 1874) Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Gilbert Kalish, piano • Nicolas Dautricourt, violin • Paul Neubauer, viola • Torleif Thedéen, cello NOTES ON THE PROGRAM Three Early Songs for Voice and Piano (1947) George Crumb (b. Charleston, WV, 1929) Crumb wrote these songs in 1947, the year he graduated high school and entered Mason College in his native Charleston, West Virginia. His now-wife of 70 years, Elizabeth May Brown, was the first to sing them and they are dedicated to her. They are wholly unlike the works that Crumb eventually became famous for—their sound is more early 20th century art song than the unique and otherworldly sound palette he would later develop. Crumb explained that in West Virginia at that time, Debussy was “almost an ultra-modern.” These songs, with delightful melodies and floating harmonies, show that young Chamber Music Society of Lincoln Center Crumb, even before finding his mature style, still had a gift for music that is understated yet emotionally powerful. Crumb suppressed the vast majority of his student compositions but he’s allowed performance of these songs. -
Download Booklet
THE CAPTIVE NIGHTINGALE Nineteenth century art song was firmly harnessed That much of the music on this disc was long to the instrument found in every genteel forgotten is symptomatic of the neglect of this GERMAN ROMANTIC RARITIES home – the piano. Other available players were repertoire. A ‘Lieder recital’ gradually established FOR SOPRANO, CLARINET & PIANO eagerly welcomed to the salon and editions were itself in the concert hall rather than the published with ad libitum or obbligato parts household, predominantly with voice and piano for violin, flute, horn, cello, harmonium, and the alone, and the twentieth century turned a instrument outstandingly raised in status by largely deaf ear to the perceived sentimentality 1 Alpenlied | Song of the Alps Andreas Späth (1792-1876) [3.31] Mozart and Weber, and well suited in range and or Biedermeier qualities of ‘salon music’. 2 Das Mühlrad | The Mill-Wheel Conradin Kreutzer (1780-1849) [5.06] tone colour – the clarinet. The winning combination Discovering items long overlooked can bring 3 Schweitzers Heimweh | Homesick for Switzerland Heinrich Proch (1809-1878) [5.00] of voice, clarinet and piano delighted intimate many rewards. One item in this recital, the 4 Die gefangene Nachtigall | The Captive Nightingale * Heinrich Proch [5.02] gatherings and inspired many lovely works. iconic song for this combination, Schubert’s 5 Heimathlied | Home Song Johann Baptist Wenzel Kalliwoda (1801-1866) [4.03] Shepherd on the Rock, has always been admired 6 Seit ich ihn gesehen | Ever Since I Saw Him Franz Lachner (1803-1890) [4.54] Musical history owes much to clarinettists and performed, and exerted its influence in whose talents stimulated a series of subject matter and style on others heard here. -
"Moments Musicaux” and "Impromptus" by Franz Schubert Yoko
"My song implores from the darkest depths" "Moments Musicaux” and "Impromptus" by Franz Schubert Yoko Kaneko (fortepiano Graf, 1827) Although the life of Franz Schubert (1797-1828) was extremely short (31 years), it was perpetually overflowing with music of extraordinary genius. Did he not write more than a thousand works in 18 years, starting in 1810 (with a "Fantasy" for piano four hands) until his death in 1828, his last known work, according to the Deutsch catalogue, being a fugue ... ? It is true that several compositions remained unfinished, while others did not get beyond the preliminary stages, yet so many great works have come down to us perfectly formed. There are nine complete symphonies together with a tenth which has been reconstituted using existing fragments of music; 21 sonatas for piano together with many other piano pieces, including notably, military marches, the C major “Wanderer Fantasy”, the “Valses Sentimentales”, six “Moments Musicaux”, the “Hungarian Melody” “for piano, two books of four “Impromptus”, the “Fantasy" in F minor for piano four hands. The chamber music includes three “sonatinas” for violin and piano, a "Rondo", a “Fantasy" in C major, a Sonata for violin and piano and the “Arpeggione” sonata; fifteen string quartets; six trios either for strings or with piano; two quintets ( the “Trout”, for piano and strings and another for two violins, viola, and two cellos); an “Octet” for strings and winds; 185 chorals; eleven Masses; 15 operas ... and more than two hundred Lieder. The son of a elementary school teacher, expected to become a schoolteacher himself, Franz Schubert's musical gift would soon take over; at the age of 13, he composed a “Fantasy” for piano four hands which is still preserved. -
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THE SHEPHERD ON THE ROCK Composers had a love affair lasting unbrokenly accompanied song, and three of the masters from the early Spring of musical Romanticism of the German Lied are represented here: – Schubert – until its long, lingering autumn Schubert, Brahms and Strauss. with Richard Strauss. The object of their 1 Introduction and Polonaise brilliante in C Major, Op. 3 Frédéric Chopin, arr. Bliss [9.12] affection was the clarinet. The combination of Chopin’s Introduction and Polonaise Brillante 2 Das Maedchen spricht, Op. 107 No. 3 Johannes Brahms [1.24] that instrument with piano and the human in C major (originally for cello and piano) 3 Unbewegte laue Luft, Op. 57 No. 8 [3.49] voice found its locus classicus in the last belongs to 1829-30, the last autumn and 4 Es träumte mir, Op. 57 No. 3 [3.19] track on this disc, Schubert’s Der Hirt auf dem winter spent in his native Poland before his 5 O kühler Wald, Op. 72 No. 3 [2.12] Felsen (The Shepherd on the Rock), which departure for Paris. It was written for one of 6 Ständchen, Op. 106 No. 1 [1.45] resembles a miniature cantata. his admirers, Prince Antoni Radziwill, a keen Fantasiestücke, Op. 73 Robert Schumann cellist and a composer himself, to play with 7 I. Zart und mit Ausdruck [3.12] The clarinet, like the piano, underwent significant his pianist daughter. In October Chopin had 8 II. Lebhaft, leicht [3.37] technical improvements during the nineteenth enjoyed a stay at their summer palace near 9 III. -
Liberty University School of Music
Liberty University School of Music presents String Chamber Ensembles Recital Dr. Luca Trombetta, director April 10, 2021 Choral Classroom MUSIC 180 3:00 PM String Chamber Ensembles Recital Dr. Luca Trombetta, director Program String Quintet in E Major, Op. 11, No. 5, G. 275 Luigi Boccherini I. Andantino amoroso (1743-1805) III. Minuetto molto moderato Johanna Vogt, Samuel Smith, violin Ariana Leggett, viola Lauren Dymmel, Kellan Mozzone, cello Variations in G Major on Wenzel Muller’s Ludwig van Beethoven Ich bin der Schneider Kakadu, Op. 121a for Piano Trio (1770-1827) Johanna Vogt, violin Lauren Dymmel, cello Joshua McKinnis, piano Two Rhapsoides for Oboe, Viola and Piano Charles Marin Loeffler I. L'étang (1861-1935) Talitha Armbrust, viola Mai’ya Jackson, oboe Caitlin Yeaton, piano String Quintet in C Major, D. 956, Op. posth. 163. Franz Schubert IV. Allegretto (1797-1828) Timothy Oliver, Hannah O’Berry, violin Talitha Armbrust, viola Sara Phelps, Max Foster, cello - PROGRAM NOTES - String Quintet in E major Op.11, No.5, G275 In 1771, Boccherini had composed the String Quintet in E major op.11 no.5 (G275) in Madrid. Its third movement is that very minuet mentioned above, now so celebrated and almost unsurpassable in its bewitching elegance, which presents the Baroque courtly dance in stylised form, as if through a veil. If the image of Boccherini as a master of galant dance music has been bound up with this musical gem for generations now, it must be said that this is an unwarranted construct on the part of posterity. For such a notion underestimates the significance that is his rightful due in music history, especially as far as the development of chamber music is concerned. -
Irish Culture in Britain a Centenary Celebration
Irish Culture in Britain A Centenary Celebration Festival Artistic Director John Gilhooly Supported by Culture Ireland as part of the Ireland 2016 Centenary Programme A Message from President Michael D. Higgins a mhaith liom tréaslú leo siúd a d’eagraigh an mórcheolchoirm seo anocht agus, dar ndóigh, leis na ceoltóirí, damhsóirí agus na h-ealaínteoirí ar fad atá ag glacadh páirt sa chéiliúradh céad bhliain seo B den chultúr Ghaelach sa Bhreatain. I would like to extend my congratulations to the organisers and many artists involved in tonight’s Gala Concert, Irish Culture in Britain: A Centenary Celebration. If it is in the shadow of each other we live, it is in the cultural space we celebrate our heritage of words and music, a heritage in which we are both intertwined. As we commemorate the courage, dignity and ideals that characterised the events and people of 1916, we also celebrate the depth of connection between Ireland and Britain. Tonight you celebrate not only the rich cultural tradition across these islands, but also its contemporary expression, our new imaginings, and the many creative ways to sustain the artistic work that will form the next chapter of our shared story. Sabina and I would like to thank and congratulate all of those involved in tonight’s performance for their dedication and hard work in bringing about such a special evening, and in particular to John Gilhooly, who has made such an important contribution to the Ireland 2016 centenary programme. I wish to also congratulate Ann Murray on the presentation of the Wigmore Medal, in recognition of her significant international career.