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THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
{ to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke. -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
The Bible in Music
The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
SOUROZH MESSENGER No. 10
RUSSIAN ORTHODOX CHURCH DIOCESE OF SOUROZH CATHEDRAL OF THE DORMITION OF THE MOTHER OF GOD 67 ENNISMORE GARDENS, LONDON SW7 1NH Sourozh Messenger No 10 April 2018 £2 3rd Sunday of Pascha The Myrrh-Bearing Women Troparion, Kontakion, Tone 2 Tone 2 When Thou didst stoop to death, O Thou hast risen from the tomb, O Life immortal, and by the lightning All-powerful Saviour, and at this flash of Thy divinity didst harrow wondrous sight, hell was struck hell; when from the nethermost with fear and the dead rose. The parts Thou didst raise up the dead creation also rejoiceth in Thee, all the powers of heaven cried: and Adam is exceeding glad; and Giver of Life, O Christ our God, theworld, O my Saviour, sings Thy glory be to Thee! praises forever. April 2018 List of contents In this issue: Paschal celebration at the parish of St Silouan of Mt Athos, Paschal message of His Holiness Southampton .......................................20 Kirill, Patriarch of Moscow and All Russia ................................................3 NOTES ON THE CHURCH CALENDAR The Myrrh-Bearing Women: On the relationshop of the Orthodox Women’s Day................22 Russian Orthodox Church to current events.........................................5 BRITISH AND IRISH SAINTS Venerable Enda, Holy Fire was brought from Abbot of Inishmore ..........................24 Jerualem to the British Isles for Paschal celebrations..............6 LEGACY OF METROPOLITAN ANTHONY OF SOUROZH DIOCESAN NEWS......................................7 Meeting a non-Orthodox Society. CATHEDRAL NEWS..................................9 -
El Rocío: a Case Study of Music and Ritual in Andalucía
ABSTRACT Title of Document: EL ROCÍO: A CASE STUDY OF MUSIC AND RITUAL IN ANDALUCÍA W. Gerard Poole, Ph.D., 2007 Dissertation directed by: Dr. Carolina Robertson, Department of Ethnomusicology Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. -
Sl£U J5>Nci£Iu the CHARLES WESLEY SOCIETY
Jlrnc££oings nf W4£ 0l4arl£s ~£sl£U j5>nci£iu Volume 6 1999-2000 S T Kimbrough, Jr. Charles A. Green Editor Assistant Editor PAPERS PRESENTED AT THE ELEVENTH ANNUAL MEETING OF THE CHARLES WESLEY SOCIETY July 2000 Liverpool, England Frederick E. Maser: 1908-2002 ................................ 3 Introduction: 1999 and 2000 . 7 S T Kimbrough, Jr. The Image of Christ in the Poor: On the Medieval Roots of the Wesleys' Ministry with the Poor: Synopsis . .. 11 Ted A. Campbell Perfection Revisited: Charles Wesley's Theology of "Gospel-Poverty" and "Perfect Poverty": Synopsis . .. 13 S T Kimbrough, Jr. Charles Wesley's Experience of Salvation: The Evidence of the Sermon Corpus . .. 15 Kenneth G. C. Newport A Single, Steady Aim: Images of Hope in Wesleyan Hymnody . .. 31 Elaine A. Robinson "Experimental and Practical Divinity": Charles Wesley and John Norris .. 59 J. Richard Watson Charles Wesley's View of the Self. .. 73 Martin Groves Ted A. Campbell, President J. Richard Watson, Vice President Wilma J. Quantrille, Secretary Charles A. Green, Treasurer E. Alan Rose, Secretary-Treasurerfor the United Kingdom S T Kimbrough, Jr., Director ofPublications Elaine A. Robinson, Program Director Board of Directors Friedemann W. Burkhardt Kenneth G. C. Newport John R. Tyson Paul W. Chilcote Kenneth D. Shields Maxine E. Walker Timothy S. Alexander-Macquiban Carlton R. Young Proceedings of The Charles Wesley Society 1999-2000 Published in the United States by The Charles Wesley Society, 2002 Editor; S T Kimbrough, Jr. Assistant Editor; Charles A. Green Copyright © 2002 by The Charles Wesley Society. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of The Charles Wesley Society. -
The Sound Imitation of Some National Instruments in Piano Music 7
The sound imitation of some national instruments in piano music 7 The sound imitation of some national instruments in piano music La imitación sonora de algunos instrumentos nacionales en música de piano. aBSTRACT The article reveals the textural, timbre-dynamic, harmonic, performing and other musical means of imitating the sound of national instruments in piano music. Based on the analysis of literature and works by M. Mussorgsky, S. Rachmaninov, F. Liszt, Wang Jiangzhong, Zhu Wanhua, A. Rudenko, R. Kasimov and other composers, summarizing the performing and pedagogical experience of studying piano works shows the means of implementing various instruments to groups of idiophones, membranophones, chordophones and aerophones according to the instrumental classification of Hornbostel-Sachs. The article shows that onomatopoeia is based not only on the sound image of the primary source instrument, but also on recreating the playing techniques of playing it. At the same time, the traditions of academic art, the achievements of European pianism and the sound capabilities of the piano are actualized. Imitation of the sound of the bell, one of the idiophones, occupies an important place in foreign and domestic music. In the works of Russian composers, various types of Orthodox bells ring out, such as Blagovest, Perebor, Perezvon, and Trezvon. In the works of Chinese composers, the sounds of ancient bianzhong ceremonial bells are displayed. The imitation of a bell is based on the reproduction of its timbre-acoustic characteristics, rich in overtones of a booming sound, long and smoothly dying out, accompanied by other harmonies or figurations, pedalization of the piano. The imitation of string-stringed chordophones is notable for its expressiveness, melodic expressiveness, improvisation, and rich ornamentation. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance.