Violin Syllabus / 2013 Edition
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Card Games for Individuals
Card Games for individuals Patience The game is played using a tableau of seven columns. Running from left to right, the first column contains one card, the second contains two, the third three, etc. In each column, the top card should be face up and the rest face down. Deal by placing one card, face up, on the table in front of you then, to this card’s right, six more face down. Repeat this row by row, dealing one less card each time. As well as the face-up cards in the tableau, you’ll work with every third card in the remaining pack, one at a time. Move through the pack by taking three cards from the top and turning them over, creating a new face-up pile. When you’ve passed through the deck, turn it over and start again. In the tableau, a card from the pack may be placed on another card that is one rank higher and of an alternate colour. An eight of hearts, for example, may be placed on either a nine of spades or a nine of clubs - both black suits. Sequences of grouped cards can be moved around according to the same rules as individual cards. Whenever you free up a face-down card on a tableau column, turn it over. If a column is emptied, you can shift any card or sequence into it. If an ace comes into play, position it face up above the tableau, thus beginning a foundation. Foundations are suited and built from ace to king. -
Flint Orchestra
Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change. -
String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
ONYX4106.Pdf
DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956). -
A Comparative Study of French-Canadian and Mexican-American Contemporary Poetry
A COMPARATIVE STUDY OF FRENCH-CANADIAN AND MEXICAN-AMERICAN CONTEMPORARY POETRY by RODERICK JAMES MACINTOSH, B.A., M.A. A DISSERTATION IN SPANISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OP PHILOSOPHY Approved Accepted May, 1981 /V<9/J^ ACKNOWLEDGMENTS I am T«ry grateful to Dr. Edmundo Garcia-Giron for his direction of this dissertation and to the other mem bers of my committee, Dr. Norwood Andrews, Dr. Alfred Cismaru, Dr. Aldo Finco and Dr. Faye L. Bianpass, for their helpful criticism and advice. 11 ' V^-^'s;-^' CONTENTS ACKNOWI£DGMENTS n I. k BRIEF HISTORY OF QUE3EC 1 II• A BRIEF HISTORY OF MEXICAN-AMERICANS ^9 III. A LITERARY HISTORY OF QUEBEC 109 IV. A BRIEF OUTLINE OF ^MEXICAN LITERATURE 164 7» A LITERARY HISTORY OF HffiXICAN-AT/lERICANS 190 ' VI. A COMPARATIVE LOOK AT CANADZkll FRENCH AND MEXICAN-AMERICAN SPANISH 228 VII- CONTEMPORARY PRSNCK-CANADIAN POETRY 2^7 VIII. CONTEMPORARY TffiCICAN-AMERICAN POETRY 26? NOTES 330 BIBLIOGRAPHY 356 111 A BRIEF HISTORY OF QUEBEC In 153^ Jacques Cartier landed on the Gaspe Penin sula and established French sovereignty in North America. Nevertheless, the French did not take effective control of their foothold on this continent until 7^ years later when Samuel de Champlain founded the settlement of Quebec in 1608, at the foot of Cape Diamond on the St. Laurence River. At first, the settlement was conceived of as a trading post for the lucrative fur trade, but two difficul ties soon becam,e apparent—problems that have plagued French Canada to the present day—the difficulty of comirunication across trackless forests and m.ountainous terrain and the rigors of the Great Canadian Winter. -
Three BJ S-Three Chaconnes Byron Cantrell
Three BJ s-Three Chaconnes Byron Cantrell Ever since Hans von Bulow coined the expression "the three B's" in denoting J. S. Bach, Beethoven, and Brahms to the exclusion of other fine composers whose family names begin with that same initial letter, numerous comparisons have been made regarding the composition techniques of these masters. Although distinct forms are associated with the different time periods within which each lived, all three of these men are regarded as superior composers of variations. Each has treated the usual melodico-harmonic forms so idiomatically that commentary is too often limited to banal remarks on similarities or non- comparative discussion of individual works. The continuous variation form, the chaco nne, has, however, been ingeniously used by these three masters, and, because most of the aspects of the form are demonstrably retained by each of them, comparisons can effectively be made. Emerging in the late Renaissance, the chaconne gained enormous popu- larity during the Baroque era; indeed, no opera in the Italian style was considered complete during this age without one or more numbers in chaconne form. But with the Classical period came a strong preference for melodico-harmonic variations and opera buffa finales, and the ostinato variation idea seemed destined for oblivion. It was Johannes Brahms, late in the Romantic period, who handsomely revived the chaconne and thus paved the way for its popularity among later composers. In his book, The Technique of Variation, Dr. Robert U. Nelson devotes considerable space to a discussion of Baroque chaco nne practice in the instrumental field. In order to consider the three pieces selected for study here, a list of fourteen points has been extracted from Dr. -
Samba, Rumba, Cha-Cha, Salsa, Merengue, Cumbia, Flamenco, Tango, Bolero
SAMBA, RUMBA, CHA-CHA, SALSA, MERENGUE, CUMBIA, FLAMENCO, TANGO, BOLERO PROMOTIONAL MATERIAL DAVID GIARDINA Guitarist / Manager 860.568.1172 [email protected] www.gozaband.com ABOUT GOZA We are pleased to present to you GOZA - an engaging Latin/Latin Jazz musical ensemble comprised of Connecticut’s most seasoned and versatile musicians. GOZA (Spanish for Joy) performs exciting music and dance rhythms from Latin America, Brazil and Spain with guitar, violin, horns, Latin percussion and beautiful, romantic vocals. Goza rhythms include: samba, rumba cha-cha, salsa, cumbia, flamenco, tango, and bolero and num- bers by Jobim, Tito Puente, Gipsy Kings, Buena Vista, Rollins and Dizzy. We also have many originals and arrangements of Beatles, Santana, Stevie Wonder, Van Morrison, Guns & Roses and Rodrigo y Gabriela. Click here for repertoire. Goza has performed multiple times at the Mohegan Sun Wolfden, Hartford Wadsworth Atheneum, Elizabeth Park in West Hartford, River Camelot Cruises, festivals, colleges, libraries and clubs throughout New England. They are listed with many top agencies including James Daniels, Soloman, East West, Landerman, Pyramid, Cutting Edge and have played hundreds of weddings and similar functions. Regular performances in the Hartford area include venues such as: Casona, Chango Rosa, La Tavola Ristorante, Arthur Murray Dance Studio and Elizabeth Park. For more information about GOZA and for our performance schedule, please visit our website at www.gozaband.com or call David Giardina at 860.568-1172. We look forward -
ROCKY MOUNTAIN National Park CO LO 1^^.00
ROCKY MOUNTAIN National Park CO LO 1^^.00 UNITED STATES RAILROAD ADMINISTRATION NATIONAL PARK. SERIES Copyright by WiswaU The Village of Estes Park nestles in a quiet little valley, surrounded by mountains Page two An Appreciation of Rocky Mountain National Park By ENOS A. MILLS, Author of "Wild Life on the Rockies," "The Rocky Mountain Wonderland," etc. Written Especially fer the United States Railroad Administration j]HE Rocky Mountain National Park is a marvelous grouping of gentle ness and grandeur; an eloquent, wordless hymn, sung in silent, poetic pictures; a wilderness mountain world of groves and grass plots, crags and canyons, rounded lakes with shadow-matted shores that rest in peace within the purple forest. There are wild flowers of every color, and many a silken meadow edged with ferns. Brokenness and beauty, terrace upon terrace, a magnificent hanging wild garden. Over these terraces waters rush and pour. From ice-sculptured, snow-piled peaks, young and eager streams leap in white cascades between crowding cliffs and pines. Through this wildness winds the trail, with its secrets of the centuries, where adventures come and go and where the magic camp fire blossoms in the night. In these primeval scenes the grizzly bear gives to the wilderness its master spell; the mountain ram poses on the cliff; the laughing, varied voice of the coyote echoes when the afterglow falls; the home-loving beaver builds his willow-fringed hut; the birds sing; the cheerful chipmunk frolics and never grows up; and here the world stays young. The Rocky Mountain National Park holds adventure for every visitor. -
Birding Northern California by Jean Richmond
BIRDING NORTHERN CALIFORNIA Site Guides to 72 of the Best Birding Spots by Jean Richmond Written for Mt. Diablo Audubon Society 1985 Dedicated to my husband, Rich Cover drawing by Harry Adamson Sketches by Marv Reif Graphics by dk graphics © 1985, 2008 Mt. Diablo Audubon Society All rights reserved. This book may not be reproduced in whole or in part by any means without prior permission of MDAS. P.O. Box 53 Walnut Creek, California 94596 TABLE OF CONTENTS Introduction . How To Use This Guide .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Birding Etiquette .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Terminology. Park Information .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 5 One Last Word. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 5 Map Symbols Used. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6 Acknowledgements .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6 Map With Numerical Index To Guides .. .. .. .. .. .. .. .. .. 8 The Guides. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 10 Where The Birds Are. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 158 Recommended References .. .. .. .. .. .. .. .. .. .. .. .. .. .. 165 Index Of Birding Locations. .. .. .. .. .. .. .. .. .. .. .. .. .. 166 5 6 Birding Northern California This book is a guide to many birding areas in northern California, primarily within 100 miles of the San Francisco Bay Area and easily birded on a one-day outing. Also included are several favorite spots which local birders -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain.