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Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian 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 Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL GUIDE TO THE 25 ETUDES MÉLODIQUES OPUS 45 OF STEPHEN HELLER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LARISSA MARIE KIEFER Norman, Oklahoma 2001 UMI Number: 3009547 UMI UMI Microform 3009547 Copyright 2001 by Bell & Howell Information and Leaming Company. -
Boston Symphony Orchestra Concert Programs, Season
NEW NATIONAL THEATRE, WASHINGTON Twenty-sixth Season, J90^-J907 DR. KARL MUCK, Conductor programme of % Fifth and Last Matinee WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, MARCH 19 AT 4.30 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER 08SIP GABRILOWITSCH the Russian Pianist will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital GABRILOWITSCH will play only the ifaun&ife PIANO ifejm&ifaittlhtdk Boston New York For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 Boylston Street, Boston 2 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, ConcertmeisUr> and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Muller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E» Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler, E. Lorbeer, H. -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES A (INSTRUMENTAL) Consists of instrumental sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 134 Abbot, John M. The vesper bell mazurka. For solo piano. Boston: Oliver Ditson & Co., 1863. Abbot, John M. The vesper bell mazurka. For solo piano. New York: Firth, Son & Co., 1863. Abecasis, S. Duchess of Albany gavotte. For solo piano. Boston: Oliver Ditson & Co., 1883. Adams, O. S. Daily exercises for piano students. New York: Wm. A. Pond & Co., 1874. Adams, O. S. Polka caprice. For solo piano. New York: Wm. A. Pond & Co., 1880. Adams, Oliver S. Une fleur de printemps (Spring flower) mazurka. For solo piano. New York: Wm. A. Pond & Co., 1864. Adelstein, Samuel. “Bella” mazurka. Violin obbligato. Also includes arrangement for guitar solo by L. B. Douglass. [s.l.]: J. P. Broder & Co., 1889. Agosty, Florian. Orphee aux enfers gallop. No. 5 in “Hitchcock’s Ten Cent or Dime Series of Select Music for the Million,” vol. 1. New York: Benjamin W. Hitchcock, 1869. Cover features lithograph. Alard, D. Berceuse, op. 49, no. 2. For violin and piano. No. 9 in “Repertoire del’Artiste for Violin and Piano.” Baltimore: George Willig & Co., [s.d.]. Alard, D. La fille du regiment. For violin and piano. In “Eight Easy Operatic Fantasies.” Boston: Oliver Ditson & Co., [between 1858 and 1876]. Allen, Geo. W. Waltz quadrille. With a complete description of the figures. -
Systems Plus College Foundation Social and Psychological Research Unit
SYSTEMS PLUS COLLEGE FOUNDATION SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT INSIGHTS AND OPINIONS OF COLLEGE STUDENTS ON CLASSICAL PIANO INSTRUMENTAL MUSIC By Prof. Jose Maria G. Pelayo III May 2013 SYSTEMS PLUS COLLEGE FOUNDATION MacArthur Highway, Balibago, Angeles City, Philippines 2009 1 SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT Prof. Jose Maria G. Pelayo III Social and Psychological Research Coordinator [email protected] SYSTEMS PLUS COLLEGE FOUNDATION SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT INTRODUCTION Classical Piano Instrumental Music have been used for meditation hitherto. This study would want to discover the insights and opinions of individuals with no formal musical training and how it may affect their mood, emotions, feelings, imagination, attitude, perception in life and personality. The researcher conducted this study in order to discover if this type of music could be a basis for meditation, relaxation, used for studying, reviewing, contemplation or other purposes. “The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom.” 1 Composers usually use the piano when composing songs. Contemporary songwriters have different methods like writing the lyrics first before composing the melody, vice versa or both at the same time. Famous pianist composers from before: BAROQUE PERIOD Early Baroque 1590–1625 High Baroque 1625–1660 Late Baroque 1660–1725 1. -
Richard Burmeister Aus Wikipedia, Der Freien Enzyklopädie
>>> Biographie: https://de.wikipedia.org/wiki/Richard_Burmeister Stichtag 25.06.2018 Richard Burmeister aus Wikipedia, der freien Enzyklopädie Richard Burmeister (* 7. Dezember 1860 in Hamburg; † 19. Februar 1944 in Berlin) war ein deutscher Pianist, Komponist und Musikpädagoge.[1] Zuerst Schüler von Adolf Mehrkens in Hamburg, studierte er von 1881 bis 1884 bei Franz Liszt in Weimar, Rom und Budapest. In den Jahren 1884 und 1885 unternahm er Tourneen durch Deutschland, Österreich-Ungarn, England und Frankreich. 1885 bis 1897 unterrichtete er als Professor am Peabody Institute in Baltimore, dem Konservatorium der Johns Hopkins University. In dieser Zeit unternahm er zahlreiche Tourneen durch die USA, aber auch nach Deutschland, wo er am 18. Februar 1893 das erste Mal als Solist mit den Berliner Philharmonikern auftrat. Von 1897 bis 1903 war er Direktor des Scharwenka Conservatory of Music in New York. 1903 wurde er als Hochschullehrer der Ausbildungsklassen an das Königliche Konservatorium Dresden berufen, wo er bis 1906 wirkte und dann an das Klindworth-Scharwenka-Konservatorium in Berlin wechselte, wo er bis 1925 lehrte. 1925 bis 1933 lebte er in Meran, anschließend wieder in Berlin. Burmeister gab zahlreiche Bearbeitungen von Werken Liszts, Chopins und J. S. Bachs heraus. Er war von 1885 bis 1899 mit der Pianistin Dory Petersen (1860–1902), ebenfalls einer Liszt- Schülerin, verheiratet.[2] Seine Grabstätte befindet sich auf dem Friedhof Berlin-Dahlem. Werke (Auswahl) Concert in d-Moll für Pianoforte und Orchester (1880) Die Jagd nach dem Glück, sinfonische Dichtung Die Schwestern, dramatisches Tongedicht für Alt und Orchester Konzert-Romanze (für Violine mit Orchester oder Pianofortebegl.) G-Dur; op. -
Rudolf Serkin Himself, His Family Surname Resists Pinning Down
CHAPTEK ONE p C:?^er ariU' ’^Pt£/wi/y Art comes not from ability but from necessity. ----ARNOLD SCHOENBERG SERKINS AND SCHARGELS Like Rudolf Serkin himself, his family surname resists pinning down. Sarkin, Sorin, Soric, Surin, Suris, Suric, Surman, Sorkin, Surkin, Syrkin, Scherkin, and Sirkin are some of its variants, the last two employed by Rudolf’s father, Mordko, who also went by Mordechai, Marcus, and Max.' Derived from Sarah, it was a fairly common metronymic surname among Jews from the area now called Belarus. When an Irving Syrkin wrote to inquire whether he might be a relative, Serkin answered, “My father always told me that there was only one family Serkin; so I feel we must be related somehow.”^ Mordko Chazkelewitsch Serkin came from the town of Disna in Belarus, the heartland of eastern European Jewry, once part of Poland but in Russia’s “Pale of Settlement” when he was bom there in i860. He was a musician whose life was dragged down by bad luck, poor choices, and a talent that was proba bly inadequate to his calling. When Rudi was 9, he wrote a song for his father’s birthday that began with the words Wie kommt’s, dass Du so traurig hist—^Why are you so sad? Mordko was the atheist son of an orthodox Jew, a shoemaker (or possibly a tanner, or both). Working with leather was something of a family tradition: 11 12 RUDOLF SERKIN one of Mordko’s brothers was also a shoemaker, and Mordko himself ran a shoe repair shop for a time and later eked out a living making shoe polish in Vienna during the First World War.^ Mordko left home at i6 to escape his fam ily, religious orthodoxy, and conscription into the Russian army. -
Piano Repertoire Teacher's Index
NEIL A. KJOS PIANO LIBRARY PIANO REPERTOIRE TEACHER’S INDEX SELECTED & EDITED BY Keith Snell u Baroque & Classical u Romantic & 20th Century u Etudes u Essential Piano Repertoire PREPARATORY LEVEL - LEVEL TEN NEIL A. KJOS MUSIC COMPANY 1-800-797-KJOS • Fax: (858) 270-3507 • [email protected] NEIL A. KJOS PIANO LIBRARY Teacher’s Index to Piano Repertoire Do you select music by composer and title? Do you select music by level of difficulty? Let the Neil A. Kjos Piano Repertoire Teacher’s Index assist you in organizing and simplifying the process of selecting music for your students. This Teacher’s Index, organized in two sections, contains all the repertoire found in the Piano Repertoire Series of the Neil A. Kjos Piano Library. Use the Level Index to become familiar with the grading of standard literature and plan repertoire for your students. Use the Composer/Title Index to visualize the broad spectrum of composers at a glance. CD recordings are available for every level of the Piano Repertoire series. Each CD is performed by pianist Diane Hidy, and these recordings enable students to hear professional performances of each work using tempos and interpretations which are realistic and serve as practical models for students. Color-coded for easy reference! Preparatory Level Level One Level Two Level Three Level Four Level Five Level Six Level Seven Level Eight Level Nine Level Ten NN0926P Publisher • 1-800-797-KJOS • Fax: (858) 270-3507 • [email protected] Neil A. Kjos Music Company • 1 TABLE OF CONTENTS Piano Repertoire Overview . 2 Theory and Technic . -
Source Book for Piano Pedagogy with Suggested Syllabus
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1978 Source book for piano pedagogy with suggested syllabus Dorcas L. Zimmerman The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Zimmerman, Dorcas L., "Source book for piano pedagogy with suggested syllabus" (1978). Graduate Student Theses, Dissertations, & Professional Papers. 3625. https://scholarworks.umt.edu/etd/3625 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. SOURCE BOOK FOR PIANO PEDAGOGY WITH SUGGESTED SYLLABUS By Dorcas L. Zimmerman B.A., University of Montana, 1937 Presented in partial fulfillment of the requirements for the degree of Master of Music Education UNIVERSITY OF MONTANA 1978 Approved Chairman,'Board of Examiners Dean, Graduate S c h o o l j/ Date UMI Number: EP35322 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI EP35322 Published by ProQuest LLO (2012). Copyright in the Dissertation held by the Author. -
Twenty-Five Melodious Studies, Op. 45 Free
FREE TWENTY-FIVE MELODIOUS STUDIES, OP. 45 PDF Stephen Heller | 56 pages | 01 Mar 2000 | Alfred Music | 9780769280677 | English | United States Stephen Heller - Wikipedia Cookies are used to provide, analyse and improve our Twenty-Five Melodious Studies provide chat tools; and show you relevant content on advertising. You can learn more about our use of cookies here. Are you happy to accept all cookies? Accept all Manage Cookies Cookie Preferences We use cookies and similar tools, including those used by approved third parties collectively, "cookies" for the purposes described below. You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. The choices you make here will apply to your interaction with this service on this device. Essential We use cookies to provide our servicesfor example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. These cookies are necessary to Op. 45 our site and services and Op. 45 cannot be disabled. For example, we use cookies to conduct research and diagnostics to improve our content, products and services, and to measure and analyse the performance of our services. Show less Show more Advertising ON OFF We use cookies to serve you certain types of adsincluding ads relevant to your interests on Book Depository and to work with approved third parties in the process of delivering ad Twenty-Five Melodious Studies, including ads relevant to your interests, to measure the effectiveness of their ads, and to perform services on behalf of Book Depository. -
"Musik Ist Meine Religion"
"Musik ist meine Religion" Erinnerungen des Liszt-Schülers Richard Burmeister (1860-1944) Bearbeitet von Dr. Ulrich Isch 1. Auflage 2016. Taschenbuch. 448 S. Paperback ISBN 978 3 7323 7467 0 Format (B x L): 17 x 22 cm Gewicht: 774 g Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. 3 "MUSIK IST MEINE RELIGION" Erinnerungen des Liszt-Schülers Richard Burmeister (1860-1944) herausgegeben, eingeleitet und mit erläuternden Anmerkungen, ausführlichen Anhängen und Abbildungen sowie einer Lisztschüler-Bibliographie versehen von Ulrich Isch "Musik ist meine Religion". Dies war seit meiner Jugendzeit die stete Antwort auf die Frage nach meiner Gottesgläubigkeit. R.B. 5 Inhaltsverzeichnis EINLEITUNG 1 TEIL I. "Musik ist meine Religion" 5 "Musik ist meine Religion" Erinnerungen von Richard Burmeister 7 Abbildungen 225 TEIL II. Anhänge 261 1. Zeittafel zur deutschen Geschichte 1860-1944 263 2. Das Deutsche Kaiserreich (1871-1918) 265 3. Die Weltanschauung Burmeisters 266 4. Bedeutsame Beziehungsnetze 269 a. Genealogie-Tafel des Hauses Hannover 269 b. Genealogie-Tafel des Hauses Sachsen - Coburg - Gotha 270 c. Genealogie-Tafel der Familie Siemens 271 5. Die familiären Verbindungen 272 a. Burmeister – Petersen 273 b. Burmeister – Atkinson 274 c. Burmeister – Braun 275 6. Dory Petersen 276 a. Die Liszt-Schülerin 276 b. Klavierduo mit Richard Burmeister 277 c. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Echoes of Venice The Origins of the Barcarolle for Solo Piano DMA Document submitted to the University of Cincinnati College–Conservatory of Music and to the Office of Graduate Studies in candidacy for the degree of Doctor of Musical Arts in Piano Performance by James Anor Margetts 910 Morehead Street Chadron, Nebraska 69337-2548 B.M., Brigham Young University M.M., University of Cincinnati August 15, 2008 Committee Chair: Dr. Robert Zierolf ABSTRACT This document traces the development of the solo keyboard barcarolle from its origins in late seventeenth-century opera through its establishment as a popular vehicle for wordless musical expression at the dawn of the Romantic era. Opera composers that were initially inspired by romantic notions of Venice and its surrounding waterways eventually widened the dramatic scope of the barcarolle by adapting the form to a variety of other situations and locales. Felix Mendelssohn drew upon both the vocal origins and the Venetian roots of the genre in crafting his four textless “Gondellieder” for solo piano. At approximately the same time, Frederic Chopin issued a more extended and complex Barcarolle, still regarded as the highest standard in barcarolle composition. The models provided by these two masters ultimately inspired the creation of well over four hundred additional works, many of which are listed in the concluding chapter and appendix. iii iv ACKNOWLEDGMENTS To my wonderful wife, Colleen, whose patience and understanding have miraculously never reached exhaustion despite the many sacrifices and long absences required to complete this document.