DOCSLIB.ORG

Guitar Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

GUITAR NEWS The Official Organ of the INTERNATIONAL CLASSIC GUITAR ASSOCIATION No. 59 Single cop,y price 1/4 (U.S.A. 20c.) M AY/ J UNE, 196 1 Photo : Natasha Bellow IDA PRESTI, ALEXANDRE LAGOYA, ALEXANDER BELLOW 2 GUITAR NEWS MAY- J U NE, 1961 G. RICORDI & co. Publishers - Milano Bru:telles - Buenos Aires - London - LOrrach - Mexico - New York - Paris - Sao Paulo - Sydney - Toronto NEW EDITIONS FOR GUITAR By MIGUEL ABLONIZ TRANSCRIPTIONS 129879 J. S. BACH, Fugue (1st Violin Sonata). 129882 J. S. BACH, Two Gavottes (5th 'cello Suite). 129880 J. S. BACH, Sarabande-Double, Bourree-Double (1st Violin Partita). 129347 J. S. BACH, Two Bourrees ('French overture') and March (A. Magdalena's book). 129652 L. van BEETHOVEN, Theme and Variation ('septet'). 129653 G . F. HANDEL, Aria ('Ottone'). 129654 G. F. HANDEL, Sarabande and Variations (Suite XI). 129655 J. P. RAMEAU, Six Menuets. 129349 Two ancient 'Ariettes' by A. Scarlatti and A. Caldara. 130056 J. HAYDN, Minuet (Op. 2, No. 2). 130057 F. MENDELSSOHN, Venetian Barcarole (Op. 19, No. 6). 129348 Three short ancient pieces: Aria by Purcell, Minuet by Clarke, Invention by Stanley. 130059 R. SCHUMANN, Four "Album Leaves": Valzer Op. 124, No. 10. Larghetto Op. 124, No. 13. Danza Fantastica Op. 124, No. 5. Presto Op. 99, No. 2. 129884 A Guitar Anthology of Twel ve Pieces (Purcell, Bach, Mozart, Chopin, de Visee, Gruber, etc.). TWO GUITARS 129350 J. S. BACH, Prelude No. I (48 Preludes and Fugues). 130055 J. S. BACH, Prelude No. 1 ("Six Little Preludes"). 12935 l A. VIVALDI, Aria del vagante ("Juditha triumphans"). Complete catalogues free on request. Write, asking to have your name placed on the mailing list. G. RICORD! & CO. Ufficio Edi zioni e Propaganda, Milano-Via Berchet, 2. ITALY. MAY- J UNE, 1961 G UITAR N EW S 3 INTERNATIONAL SUMMER ACADEMY, NICE H E guitar will be included again at the "Academie Internationale d'Ete, 1961", at Nice, France. Ida Presti and Alexandre Lagoya will T be the instructors, and the course will last from 6th to 30th July. Languages : French, Italian, Greek, English, Spanish and Egyptian. Particulars may be obtained from the Secretariat, 89 bis, Avenue Sainte­ Marie, Saint Mande (Seine), France, until June 15th. After June 15th enquiries should be addressed to The Academy, 24 Boulevard de Cimiez, Nice (Alpes-Maritimes), France. Experts from many lands give instruction at this International Summer Academy on various instruments and branches of music during the whole of July and the first half of August. PRESr~LAGOYA DUO IN U.S.A. HE triumphant success of the first U.S.A. tour of the Presti-Lagoya Duo is reflected in the stack of press-reports, programmes and letters T received. Considering the comparative shortness of the tour the impact of this guitar-duo has been terrific! It has made necessary a new attitude towards guitar music- an extension of appreciation to cover a greater range of tone-colour, dynamics, rhythmic complexity and the more subtle aspects of guitar music at its best. Ann Faber, in the Seattle Post-lntelligencer, points out that the publicity line "Two guitars that play as one" does less than justice to the Duo, for Presti and Lagoya 'multiply the pleasures of a single guitar'. New York Times expressed it thus: " ... the precision and unanimity of their playing was quite astounding at times, and two guitars can naturally provide more color and greater richness of tone than one." Throughout the reports the superlatives are liberally used­ " Phenomenal ! " " Astonishing!" "Dynamic!" etc. In New York Her.aid Tribune Francis D. Perkins remarks :-" ... an impressive feature of the performance was its complete external unity and its equally complete mutual expressive understanding. They play with an entire transparency of medium, a range of color that was marked by fine subtlety and also by unusual expansiveness. Their dynamic shading held similar characteristics. With fluency, their tone avoided dryness; contrast such as that of a long melody under swi ft and light ornamentation was only one of the various effects which were set forth along with sensitive under­ standing of the atmosphere of the music." The programme of the duo-recital at New York Town Hall on January 22nd consisted of four classic items and five modern works. It opened with a Suite in four movements by Marella, an Italian guitarist who came to England in 1760 and published this tuneful Suite for two 5-stringed guitars in 1762. His style is reminiscent of Handel. Then followed Lagoya's transcription of four pieces by Bach which one 4 GUITAR N EW S MAY- J UNE, 1961 critic described as 'compelli ngly beautiful, and prob::1bly the high spot of the evening'. Paginini's Sonata for two guitars and Sor's Divertissement No. l ("Encourngement") concluded the first part of the progrnmme. The modern music which followed was all written for the guitar duo and dedic::1ted to Presti-Lagoya, in fact the title of the first item 'Presti­ lagoyana' by P. Wissmer left no doubt about that. Elegie (D. Lesur), Canzona and Allegro trepilante (A. Joli vet), Toccata (Pierre Petit) and Tonadilla, in three movements (J. Rodrigo) gave the duo opportunities to display their virtuosity and musical mastery of all styles of composition. Encore items included music by M. de Falla, Granados, etc. Many guitarists attended the recitals in the various cities and here are a few quotations from letters. New York-"Our guitarists were speechless. I have never before heard guitarists quite like them. Andres Segovia attended and applauded vigorously." Los Angeles-"These two are certainl y the finest guitar duo in the world. I simply cannot imagine any pair being better." Then there was the humorist who wrote "After hearing this wonder­ ful Duo I have decided to learn to play two guitars!" The next visit of the Duo to U.S.A. will be an ever greater success as they have established a great reputation. CANFORD SUMMER SCHOOL OF MUSIC Wimborne, Dorset. Director of Music : Noel Hale, F.R.A.M . AUGUST 6th- 13th. GUITAR COURSE Directed by John Gavall This course is intended for guitarists who already have some grounding in technique and experience of sight read­ ing, and who wish to study music in two, three and four parts, as ensembles and as solos. There will be much opportunity for playing in small ensembles. Write for details to THE ORGANISER, 20 Denmark Street, London , W .C. 2 Mw- JUNE, 1961 G UITAR N EWS 5 FRENCH RADIO GUITAR CONTESTS, 1961 HIRTY three compositions have been entered for this year's com­ position section of the Guitar Contest organised by Radiodiffusion­ T Television Francaise. It is stated that they are of exceptionally high standard. The Adjudicating Jury have selected two oi' these works, and these will be played by Alirio Diaz on June 9th. When the Jury have decided which of the two is first and which second the names of the com­ posers will be announced and prizes awarded. In the Playing Section eight guitarists have been selected- one each from Holland, Austria and Italy and five from France. There will be two prizes. These eight contestants will play (in private) before the Jury on June 8th and before the public on June 9th- three obli gatory pieces and one of their own choice. It is hoped to plan similar contests for 1962 and already many enquiries have been received- from Belgium, Holland, England, Denmark, Austria, Hungary, Italy, Portugal, Spain, Sweden, Argentina, Mexico and U.S.A. Enquiries may be sent to Mons. Robert J. Vid1l, R.T.F.- 107 rue de Grenelle, Paris 7e, France, but official sanction for the contests will not be made until October, 1961. CHELTENHAM MUSIC FESTIVAL GUITAR CONTESTS N Saturday, May 13th, the two contests for guitarists will be held at the Town Hall. There is a small charge for admission. The 0 Open Contest (Class 107) for which there are already ten entries, will take place at 1.30 p.m. (test piece and own choice). The Amateur Contest (107a) will commence at 3.15 p.m., when about 16 competitors will play a test piece and a solo of their own choice. The Adjudicator will be Michael Head, F.R.A.M. Cheltenham Classic Guitar Circle has again arranged for a room to be at the disposal of competitors from 12 noon to 1.15 p.m. and again after the amateur contest. The room is at the St. John's Ambulance Brigade Head­ quarters, 12 Royal Crescent (a few minutes from Town Hall). SUMMER COURSE APPLICATIONS are invited, from a limited number of students, for a one week's course, commencing August 7th, on the technique of the CLASSIC GUITAR, given by Michael Watson and Gordon Saunders. The intention is to assist those players-both amateurs and teachers-who are without the help of informed instruction, and to provide a systematic approach to the study material described in the syllabus which, with questionnaire and other infor- mation will be sent to applicants. SPANISH GUITAR CENTRE (Western Area), 2 Elton Road, Bishopston, Bristol, 7. Tel. Bristol 47256 6 GUITAR NEWS MAY- JUNE, 1961 SPANISH GUITAR STRINGS Processed Nylon and Gut and Wound Wound on Terylene on Silk Each Each 281 1st Nylon .. 1/9 136½ 1st Gut . .. 2/10 282 2nd 2/- 137½ 2nd 3/- 283 3rd " 2/5 138½ 3rd " 3/7 281 4th Wound" .. 2/7 148 4th Wound" 2/10 285 5th 2/9 149 5th 3/4 Catb~dral Strings 286 6th 3/1 150 6th 3/7 287 Set 14/7 150½ Set ... " ... 19/2 Sole Manufacturer, BRITISH MUSIC (GN) STRINGS LTD., 130, Shncklewell Lane, London, E.11.
Recommended publications
  • Jack Pearson

    Jack Pearson

    $6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301
  • SYNDICATION Partner with Future OUR PURPOSE

    SYNDICATION Partner with Future OUR PURPOSE

    SYNDICATION Partner With Future OUR PURPOSE We change people’s lives through “sharing our knowledge and expertise with others, making it easy and fun for them to do what they want ” CONTENTS ● The Future Advantage ● Syndication ● Our Portfolio ● Company History THE FUTURE ADVANTAGE Syndication Our award-winning specialist content can be used to further enrich the experience of your audience. Whilst at the same time saving money on editorial costs. We have 4 million+ images and 670,000 articles available for reuse. And with the support of our dedicated in-house licensing team, this content can be seamlessly adapted into a range of formats such as newspapers, magazines, websites and apps. The Core Benefits: ● Internationally transferable content for a global audience ● Saving costs on editorial budget so improving profit margin ● Immediate, automated and hassle-free access to content via our dedicated content delivery system – FELIX – or custom XML feeds ● Friendly, dynamic and forward-thinking licensing team available to discuss editorial requirements #1 ● Rich and diverse range of material to choose from ● Access to exclusive content written by in-house expert editorial teams Monthly Bookazines Global monthly Social Media magazines users Fans 78 2000+ 148m 52m Source: Google Search 2018 SYNDICATION ACCESS the entire Future portfolio of market leading brands within one agreement. Our in context licence gives you the ability to publish any number of features, reviews or interviews to boost the coverage and quality of your publications. News Features Interviews License the latest news from all our Our brands speak to the moovers and area’s of interest from a single shakers within every subject we write column to a Double Page spread.
  • Compound AABA Form and Style Distinction in Heavy Metal *

    Compound AABA Form and Style Distinction in Heavy Metal *

    Compound AABA Form and Style Distinction in Heavy Metal * Stephen S. Hudson NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hudson.php KEYWORDS: Heavy Metal, Formenlehre, Form Perception, Embodied Cognition, Corpus Study, Musical Meaning, Genre ABSTRACT: This article presents a new framework for analyzing compound AABA form in heavy metal music, inspired by normative theories of form in the Formenlehre tradition. A corpus study shows that a particular riff-based version of compound AABA, with a specific style of buildup intro (Aas 2015) and other characteristic features, is normative in mainstream styles of the metal genre. Within this norm, individual artists have their own strategies (Meyer 1989) for manifesting compound AABA form. These strategies afford stylistic distinctions between bands, so that differences in form can be said to signify aesthetic posing or social positioning—a different kind of signification than the programmatic or semantic communication that has been the focus of most existing music theory research in areas like topic theory or musical semiotics. This article concludes with an exploration of how these different formal strategies embody different qualities of physical movement or feelings of motion, arguing that in making stylistic distinctions and identifying with a particular subgenre or style, we imagine that these distinct ways of moving correlate with (sub)genre rhetoric and the physical stances of imagined communities of fans (Anderson 1983, Hill 2016). Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory “Your favorite songs all sound the same — and that’s okay .
  • Pasodoble PSDB

    Pasodoble PSDB

    Documentación técnica Pasodoble PSDB l Pasodoble, o Paso Doble, es un baile que se originó en España entre 1533 y E1538. Podría ser considerado, en esen- cia, como el estandarte sonoro que le distingue en todas partes del mundo. Se trata de un ritmo alegre, pleno de brío, castizo, flamenco unas veces, pero siempre reflejo del garbo y más ge- nuino sabor español. Se trata de una variedad musical dentro de la forma «marcha» en com- pás binario de 2/4 o 6/8 y tiempo «allegro mo- derato», frecuentemente compuesto en tono menor, utilizada indistintamente para desfiles militares y para espectáculos taurinos. Aunque no está del todo claro, parece ser que el pasodoble tiene sus orígenes en la tonadilla escénica, –creada por el flautista es- pañol Luis de Misón en 1727– que era una Este tipo de macha ligera fue adoptada composición que en la primera mitad del siglo como paso reglamentario para la infantería es- XVII servía como conclusión de los entreme- pañola, en la que su marcha está regulada en ses y los bailes escénicos y que después, 120 pasos por minuto, con la característica es- desde mediados del mismo siglo, se utilizaba pecial que hace que la tropa pueda llevar el como intermedio musical entre los actos de las paso ordinario. Tras la etapa puramente militar comedias. –siglo XVIII– vendría la fase de incorporación de elementos populares –siglo XIX–, con la El pasodoble siempre ha estado aso- adición de elementos armónicos de la seguidi- ciado a España y podemos decir que es el baile lla, jota, bolero, flamenco..
  • Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 the Flamenco

    Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 the Flamenco

    Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 The flamenco song form farruca is popularly said to be of Celtic origin, with links to cultural traditions in the northern Spanish regions of Galicia and Asturias. However, a closer look at the song’s traits and its development points to another region of origin: Argentina. The theory is supported by an analysis of the song and its interpreters, as well as Spanish society at the time that the song was invented. Various authors agree that the song’s traditional lyrics, shown in Table 1, exhibit the most obvious evidence of the song’s Celtic origin. While the author of the lyrics is not known, the word choice gives some clues about the person who wrote them. The lyrics include the words farruco and a farruca, commonly used outside of Galicia to refer to a person who is from that region of Spain. The use of the word farruco/a indicates that the author was not in Galicia at the time the song was written. Letra tradicional de farruca Una Farruca en Galicia amargamente lloraba porque a la farruca se le había muerto el Farruco que la gaita le tocaba Table 1: Farruca song lyrics Sources say the poetry likely expresses nostalgia for Galicia more than the perspective of a person in Galicia (Ortiz). A large wave of Spanish immigrants settled in what is now called the Southern Cone of South America, including Argentina and Uruguay, during the late 19th century, when the flamenco song farruca was first documented as a sung form of flamenco.
  • In Memoriam Narciso Yepes

    In Memoriam Narciso Yepes

    IN MEMORIAM NARCISO YEPES Concierto extraordinario. Jueves, 16 noviembre de 2017. 20 horas Programa I JOAQUÍN RODRIGO (1901-1999) Concierto de Aranjuez Allegro con spirito Adagio Allegro gentile José María Gallardo del Rey, guitarra JOSÉ MARÍA GALLARDO DEL REY (1961) Diamantes para Aranjuez* Allegretto, ma sempre ritmico Andante expressivo Allegro Festivo II LUDWIG VAN BEETHOVEN (1770-1827) Sinfonía nº 6 en fa mayor, Op. 68. Pastoral Despertar de apacibles sentimientos al llegar al campo. Allegro ma non troppo Escena junto al arroyo. Andante molto mosso Animada reunión de los campesinos. Allegro Truenos. Tempestad. Allegro Himno de los pastores. Sentimientos de alegría y gratitud tras la tempestad. Allegretto Ignacio Yepes, director Fila 0 a beneficio de ASIDO CARTAGENA Asociación para la atención integral de personas con síndrome de down de Cartagena y sus familias. (*) Primera audición en Murcia La presencia de Narciso Yepes Un homenaje dedicado a Narciso Yepes siempre tiene a la guitarra como prota- gonista. Un instrumento que glorificó en sus innumerables actuaciones por todo el mundo, amplió el repertorio con obras olvidadas y estrenó partituras de compo- sitores contemporáneos. Sus discos están presentes y todavía en el recuerdo su figura menuda y frágil que se agigantaba con el sonido de su guitarra. En la primera parte, escucharemos dos obras con este instru- mento como solista y en la segunda, la sinfonía Pastoral por la que sentía especial devoción. El espíritu de Narciso Yepes está presente en esta sala que lleva su nombre. Joaquín Rodrigo escribió numerosas obras una unidad y un carácter clasicista. El primer para solistas como el Concierto heroico tiempo, Allegro con spirito, se inicia con un para piano y orquesta, el Concierto de estío breve preludio con la guitarra como prota- para violín, el Concierto galante para vio- gonista, con el apoyo de los contrabajos en lonchelo o el Concierto serenata para arpa.
  • (OR LESS!) Food & Cooking English One-Off (Inside) Interior Design

    (OR LESS!) Food & Cooking English One-Off (Inside) Interior Design

    Publication Magazine Genre Frequency Language $10 DINNERS (OR LESS!) Food & Cooking English One-Off (inside) interior design review Art & Photo English Bimonthly .
  • A Mini-Guide

    A Mini-Guide

    A MINI-GUIDE The Story . .2 Meet the Cast . .3 What is zarzuela? . .5 Meet the Creator of Little Red . .6 The Composers . .7 Activity: Make your own castanets! . .10 The Story: Bear Hug/Abrazo de oso! Bear Hug/Abrazo de oso! is a bilingual (in two different languages) youth opera and the cast sings in both English and Spanish. It is set in a zoo. The Zookeeper enters the stage while feeding some of his favorite animals including Marla, the koala bear, and Polly the panda bear. He admits that while he loves his job as zookeeper, he’s nervous about the grizzly exhibit next door. Grizzly bears are known to eat meat and he feels less than confident. Polly the panda greets the audience and mentions her love of reading and learning. She hears singing next to her exhibit and meets Bernardo, a very special Spanish brown bear and newest exhibit to the zoo. In fact, the entire zoo is decorated to welcome the newest bear! Bernardo, who has just arrived to the zoo and doesn’t speak much English, is nervous and feels lost. He misses his family. Polly distracts him from his loneliness by playing games like charades, trying to understand her new friend. They come across a locked gate. Polly has always wondered what was on the other side of the zoo and her adventur - ous personality starts the bears on a search for the key and out of their exhibit. The two meet Marla, the zoo’s koala bear. Koalas are actually marsupials—that means Marla isn’t really a bear at all! Koala bears are generally sleepy and like to eat plants such as eucalyptus.
  • Cartagena Y El Pasodoble

    Cartagena Y El Pasodoble

    REVISTA DE INVESTIGACIÓN SOBRE FLAMENCO La madrugá Nº15, Diciembre 2018, ISSN 1989-6042 Cartagena y el pasodoble Benito Martínez del Baño Universidad Complutense de Madrid Enviado: 13-12-2018 Aceptado: 20-12-2018 Resumen El pasodoble es un tipo de composición musical menor con títulos de excepción, páginas musicales de gran factura melódica, fuerza expresiva y estructura perfecta. Muchas de sus composiciones han logrado inmortalizar el nombre de sus autores y el insuperable atractivo de dotar emoción nuestras fiestas, patronales y bravas. Podemos incluirlo como subgénero dentro de la composición zarzuelística, y encontrarlo de muy distintas maneras, como en tiempo de marchas aceleradas, alegres y bulliciosas pasadas del coro por la escena, breves y brillantes introducciones orquestales, también para bandas de música, y finales de cuadro o de acto, incluso con tintes flamencos. Asimismo títulos imprescindibles han sido compuestos en Cartagena y algunas de las más ilustres voces de esta tierra lo han cantado y otras aun lo incluyen en su repertorio. Palabras clave: pasodoble, Cartagena, flamenco, música popular. Abstract The pasodoble is a type of minor musical composition with exceptional titles, musical pages of great melodic design, expressive force and perfect structure. Many of his compositions have managed to immortalize the name of their authors and the insurmountable attraction of giving emotion to our festivities, patronal and brave. We can include it as a subgenre within the zarzuela composition, and find it in very different ways, such as in time of accelerated marches, happy and boisterous past of the choir for the scene, brief and brilliant orchestral introductions, also for bands, and end of picture or act, even with flamenco overtones.
  • The Smartetfs Advertising & Marketing Technology ETF May 2021 Update

    The Smartetfs Advertising & Marketing Technology ETF May 2021 Update

    MRAD The SmartETFs Advertising & Marketing Technology ETF May 2021 Update Portfolio Performance as of 04/30/2021 MRAD enjoyed a good month of April producing a total return of 5.75% on a net asset value basis (5.54% market basis). The top performing MRAD holding for April was Future PLC which was up 23.6% during the month. Acuity holdings was the MRAD laggard with a negative 11.5% return for the month. Across the portfo- lio 20 stocks were up for the month; ten were down. Connected TV continues to be a growing part of AdTech with 22% year over year growth in 2020. Best performing stock: Future PLC, 23.6% TR Month to Date Future was the best per- former in the month. Future produces special interest magazines and runs websites and events. Fields include computing, games, music, automotive, sports, crafts, and leisure. Brands include Techradar, Gamesradar+, PC gamer, Digital Camera, FourFourTwo, Guitar World, Homebuilding & Renovating, The Photography Show, and others. More recently Future completed the acquisition of GoCo and Mozo price com- parison sites. Holdings are subject to change. Worst performing stock: AcuityAds Holdings Inc., -11.5% TR Month to Date AcuityAds was the worst performer in the month as investors continue to take profits from the fastest growing stocks which face risk from higher inflationary pressures and interest rate hikes. Looking longer term, AcuityAds is a leading programmatic demand side platform (DSP) that provides marketers a one-stop solution for omnichannel digital advertising. The company used to be mostly a service business, running its software for its ad agency and direct advertiser clients, but with the successful introduction of its new illumin product in October 2020, it has shifted to more of a run-it-yourself platform, making it much easier (and more profitable) to bring on small agencies and advertisers who want to run their campaigns themselves.
  • CLASSICAL GUITAR SYLLABUS Qualification Specifications for Graded Exams 2020–2023

    CLASSICAL GUITAR SYLLABUS Qualification Specifications for Graded Exams 2020–2023

    DOWLAND NUTTALL SAGRERAS CLASSICAL POWLESLAND GUITAR YORK SYLLABUS SEGOVIA Qualification specifications for graded exams 2020–2023 WALTON TARREGA FOGEL HVARTCHILKOV SANDERSON GUBAIDULINA STACHAK KRUISBRINK PRATTEN CARCASSI RODRIGO CARULLI SANZ SOR WHAT’S CHANGED? ◗ Repertoire lists refreshed at all levels, encompassing a wide range of musical styles ◗ Duets now available up to Grade 5 ◗ New graded exam books, featuring a varied selection of pieces and duets ◗ Pieces now only divided into groups at Grades 6–8 — at other grades, pieces can be chosen from a single list ◗ At Grades 6–8, at least one piece must now be chosen from each group ◗ An information and regulations section is no longer included in the syllabus — this information can be found at trinitycollege.com/music-regulations ◗ New Acoustic Guitar exams incorporating elements of the Plectrum Guitar exams available from 2020 — more information available in our Acoustic Guitar Syllabus 2020–2023 KEEP UP TO DATE Please check trinitycollege.com/classical-guitar to make sure you are using the latest version of the syllabus and for the latest information about our Classical Guitar exams. OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2020. The 2016–2019 syllabus will remain valid until 31 July 2021. During this overlap period, candidates may present pieces and technical work from the 2016–2019 or the 2020–2023 syllabus, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. CLASSICAL
  • Spain in the Enlightenment C

    Spain in the Enlightenment C

    Spain in the Enlightenment C. H. RUSSELL With the coming to power in Spain of the French Bourbon family at the beginning of the eighteenth century, the doors to Spanish society and culture ‐ long closed to many developments of Spain's European neighbours ‐ were flung open to admit a torrent of new ideas, philosophies and cultural trends. Philip V, the grandson of Louis XIV, introduced the Spanish court to the latest rage in France – the contredanse, the danse á bal and the danse á deux. All members of high society were expected to be familiar with the latest dances and their steps. French fashions, hairstyles and courtly manners found their way into Spanish life. French neo‐classical thought set in motion a series of reforms in the Spanish theatre and in literature. Italian operatic and virtuoso instrumental styles rapidly inundated the Iberian peninsula. The passion for opera shared by Philip V and his son Ferdinand VI not only helped to shape tastes in the Spanish musical theatre hut also left its indelible mark on sacred music. The inclusion of Italian theatrical styles in sacred compositions provoked a score of polemics. In fact, the issue of morality as it related to all of these foreign influences was hotly debated. These foreign intrusions met with stubborn resistance in some Spanish circles, especially among the middle class which flourished under the new economic policies of Charles III. New organizations and forms of public diversion arose. Nationalism ‐ initially generated largely by middleclass concerns ‐ permeated the entire fabric of Spanish society as the century progressed.1 THE CHURCH A social history of music must first concern itself with patrons.