Peter and the Wolf Study Guide
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The Peacock Cult in Asia
The Peacock Cult in Asia By P. T h a n k a p p a n N a ir Contents Introduction ( 1 ) Origin of the first Peacock (2) Grand Moghul of the Bird Kingdom (3) How did the Peacock get hundred eye-designs (4) Peacock meat~a table delicacy (5) Peacock in Sculptures & Numismatics (6) Peacock’s place in history (7) Peacock in Sanskrit literature (8) Peacock in Aesthetics & Fine Art (9) Peacock’s place in Indian Folklore (10) Peacock worship in India (11) Peacock worship in Persia & other lands Conclusion Introduction Doubts were entertained about India’s wisdom when Peacock was adopted as her National Bird. There is no difference of opinion among scholars that the original habitat of the peacock is India,or more pre cisely Southern India. We have the authority of the Bible* to show that the peacock was one of the Commodities5 that India exported to the Holy Land in ancient times. This splendid bird had reached Athens by 450 B.C. and had been kept in the island of Samos earlier still. The peacock bridged the cultural gap between the Aryans who were * I Kings 10:22 For the king had at sea a navy of Thar,-shish with the navy of Hiram: once in three years came the navy of Thar’-shish bringing gold, and silver,ivory, and apes,and peacocks. II Chronicles 9: 21 For the King’s ships went to Tarshish with the servants of Hu,-ram: every three years once came the ships of Tarshish bringing gold, and silver,ivory,and apes,and peacocks. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
Léon Goossens and the Oboe Quintets Of
Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses. -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
Flute Oboe Clarinet Basson Saxophone Trumpet French Horn
PROGRAM ECMS High School Wind Ensemble Personnel Tribute to Grainger, arr. Ragsdale Percy Aldridge Grainger Flute Trombone Andrew Bronco arr. Chalon Ragsdale Mary Ehrlinger Zachary Canning I. Country Gardens Alena Scott Tyler Dawe II. My Dark-Haired Maid Camryn Wlostowski III. The Gypsy’s Wedding Day Shaun Fitzgerald Justin Karnisky Oboe Michael McKenzie Claire Houston Aidan Ross Concertino Cécile Chaminade Samuel Stringer ed. Wilkins Alena Scott, flute soloist Clarinet Euphonium Sean Devlin Melissa Cannan Cole Karnisky Greg Lewandowski Peter Odhiambo Chuck Linn Graham His Yu Justyn Loney-Newman Jupiter Hymn Gustav Holst Rainna Frombgen arr. Lindsay Bronnenkant Tuba Lindsay Bronnenkant, conductor Basson Ziv Rapoport Briana Rafferty Ethan Smith Henry Stringer String Bass Saint and the City Jacob de Haan Saxophone Samuel Bowley Isabel Goldstein Samantha Kotz Gabriel Williams Percussion Cameron Connioto Angels Will Come Quincy Hilliard Trumpet Jared Emerson Evan Preston Tyler Hancock Felix Schneider Gabriel Foster Moving at the Speed of Sound Mark Lortz Wu Ryu Sean Watson French Horn Russian Sailors Dance Reinhold Glière Angelique Brewington arr. Anthony Susi SUMMER@EASTMAN June 20 – August 28, 2021 Join us for another summer of exceptional music making at Eastman, with special guest artists, Community Music School and collegiate faculty, and Summer Session program participants! Events are either free and open to the public or ticketed. Tickets are $10 (free for U/R or student ID holders) and are available at the door one hour before the concert start time. For more information about Summer@Eastman, please visit: www.esm.rochester.edu/summer ECMS High School Wind Ensemble Participant Concert July 23, 2021 11:00 a.m. -
95.3 Fm 95.3 Fm
October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op. -
Read Book Sergei Prokofiev Peter and Wolf Pdf Free Download
SERGEI PROKOFIEV PETER AND WOLF PDF, EPUB, EBOOK Sergei Prokofiev | 40 pages | 14 Sep 2004 | Random House USA Inc | 9780375824302 | English | New York, United States Sergei Prokofiev Peter and Wolf PDF Book Prokofiev had been considering making an opera out of Leo Tolstoy 's epic novel War and Peace , when news of the German invasion of the Soviet Union on 22 June made the subject seem all the more timely. This article contains a list of works that does not follow the Manual of Style for lists of works often, though not always, due to being in reverse-chronological order and may need cleanup. William F. You have entered an incorrect email address! The cat quickly climbs into the tree with the bird, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf. Help Learn to edit Community portal Recent changes Upload file. To this day, elementary school children hear Peter and the Wolf during school assemblies or at concerts for young people. Merriam-Webster Dictionary. The Independent. However, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular children's author. The Lives of Ingolf Dahl. Russian composer — Explore more from this episode More. Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. -
The Story of Peter and the Wolf
The Story of Peter and the Wolf Early one morning, Peter opened the gate and walked out into the big green meadow. On a branch of a big tree sat a little bird, Peter's friend. "All is quiet" chirped the bird happily. Just then a duck came waddling round. She was glad that Peter had not closed the gate and decided to take a nice swim in the deep pond in the meadow. Seeing the duck, the little bird flew down upon on the grass, settled next to her and shrugged his shoulders. "What kind of bird are you if you can't fly?" said he. To this the duck replied "What kind of bird are you if you can't swim?" and dived into the pond. They argued and argued, the duck swimming in the pond and the little bird hopping along Just then grandfather came out. He was upset the shore. because Peter had gone in the meadow. Suddenly, something caught Peter's attention. "It's a dangerous place. If a wolf should come He noticed a cat crawling through the grass. out of the forest, The cat thought; then what would "That little bird is you do?" busy arguing, I'll But Peter paid just grab him. no attention to Stealthily, the cat his grandfather's crept towards him on words. Boys like her velvet paws. him are not "Look out!" shouted Peter and the bird afraid of wolves. immediately flew up into the tree, while the But grandfather duck quacked angrily at the cat, from the took Peter by middle of the pond. -
Peter and the Wolf St. Louis Symphony Orchestra
St. Louis Symphony Orchestra Education Concert Series 2019/2020 Peter and the Wolf Teacher’s Guide Tuesday, October 22, 2019 9:30am & 11:00am Wednesday, October 23, 2019 9:30am & 11:00am Stéphane Denève, Music Director Gemma New, Resident Conductor slso.org/education Table of Contents Letter from the EDCP Team……………..……………..…………………………………................................................ 2 Contact Information…………………………..………………………………………………………………………………….………… 2 Subsidized Tickets & Transportation…………………………………………………………………………………….…………. 3 Planning Your Visit………………………………………………………….……………………………………………..……….……….. 3 Concert Overview………………………………..……………….………….…….…………………………….……….……………….. 3 Lesson No. 1 – The Story …………..…..………..…….…………………………….………………………….…………………….. 4 Lesson No. 2 – Musical Characters…………………………............................................................................ 7 Lesson No. 3 – Identifying Instruments of the Orchestra...................................................................... 10 Lesson No. 4 – Music Tells a Story ……………….…................................................................................... 12 Lesson No. 5 – Character Composition …..……………………………….………..…..………………………………………. 14 About the Composers ………………………………………………….…………………………………………………………………. 17 Picture the Music ……………………………………………………………………………………………………………………………. 19 For Parents: Family Concerts……………………………………………………………………………………………………………. 20 slso.org/education 1 Dear Educators: Welcome to the SLSO’s 140th season! This season we welcome Music Director, Stéphane Denève, -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
Clarinet Quarter-Tone Fingering Chart
Clarinet Quarter-Tone Fingering Chart 1st Edition rev.1 2017 Jason Alder www.jasonalder.com ii Author’s Note This clarinet quarter-tone fingering chart developed as a continuation of my initial work of one for bass clarinet, which grew from my extensive playing of contemporary music and study of South-Indian Karnatic music. My focus had been primarily on bass clarinet, so the development of this chart for soprano clarinet didn’t come to realization until some years later as my own need for it arose, occurring simultaneously with a decision to rework the initial bass clarinet chart into a second edition. The first edition for clarinet therefore follows the same conventions as the second edition bass clarinet fingering chart. This first revision revisits a few quarter-tone fingerings around the “break” after I discovered some better ones to use. Jason Alder London, 2017 iii Guide to the Fingering Chart This fingering chart was made using a Buffet R13 clarinet, and thus the fingerings notated are based on the Boehm system. Because some differences may exist between different manufacturers, it is important to note how this system correlates to your own instrument. In some fingerings I have used the Left Hand Ab//Eb key, which not all instruments have. I’ve included this only when its use is an option, but have omitted the outline when it’s not. Many notes, particularly quarter-tones and altissimo notes, can have different fingerings. I have notated what I found to be best in tune for me, with less regard for ease and fluidity of playing.