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Carla Shapreau-CV
Carla Shapreau Department of Music 104 Curator, Ansley K. Salz Collection, Department of Music Morrison Hall #1200 Lecturer, School of Law University of California Senior Fellow, Institute of European Studies Berkeley, CA 94720-2316 University of California, Berkeley +1 (510) 849-0777 Research website: the Lost Music Project [email protected] _______________________________________________________________________________ Curriculum Vitae Academic Appointments and Affiliations • Curator, Salz Collection of Stringed Instruments, Department of Music, University of California, Berkeley, 2015-present • Lecturer, Berkeley School of Law, University of California, Berkeley, Art and Cultural Property Law, January 2010-present • Senior Fellow, University of California, Berkeley, Institute of European Studies (2014- present) (Research Associate 2011-2013, Visiting Scholar 2007-2010) Awards/Grants • 2018, National Endowment for the Humanities Fellowship Grant, European History: Orpheus Lost: The Nazi-Era Plunder of Music in Europe • 2017, France-Berkeley Fund grant: “The Economic, Social and Political World of Violins in the Pre-War and World War II Eras: Bridging the Archival Gap between the Musée de la Musique and the Smithsonian Institution Collections” • 2015, Claude V. Palisca Award, American Musicological Society for The Ferrell- Vogüé Machaut Manuscript, with co-authors Lawrence Earp and Domenic Leo • 2011, Austrian Marshall Plan Foundation grant: "Austria: Musical Expropriations During the Nazi Era and 21st Century Ramifications" • 2011, -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions)
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions) by Chris Paul Harman Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract: The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in which the composer renders diatonic -
Media Information 2020
MEDIA INFORMATION 2020 THE STRAD DIRECTORY 2020 DIRECTORY DIRECTORY 2020 ESSENTIAL REFERENCE FOR THE STRING INDUSTRY In association with Roderich Paesold – Germany Meisterwerkstätten für feine Streichinstrumente & Bögen seit 1848 WWW.THESTRAD.COM WWW.THESTRAD.COM 2020 EDITION £20.00 US$30.00 €25.00 2020 STRING COURSES INTERNATIONAL COURSES FOR STRING PLAYERS AND MAKERS Supplement to The Strad January 2020 PUBLISHING READERSHIP PRINT RATES PRINT SPECS DIRECTORY DIGITAL RECRUITMENT SCHEDULE THE STRAD PORTFOLIO The voice of the string world since May 1890, The Strad reaches an influential audience of professionals and amateurs, experts and enthusiasts of all stringed instruments played with a bow. THE MAGAZINE The Strad is the only monthly magazine for stringed instruments with a truly international audience, 130-year heritage and a proud reputation for delivering the highest quality editorial content. THE STRAD SUPPLEMENTS DIRECTORY 2020 DIRECTORY DIRECTORY 2020 ESSENTIAL REFERENCE FOR THE STRING INDUSTRY 2020 In association with Roderich Paesold – Germany The Strad publishes essential market-leading supplements including a business Meisterwerkstätten für feine Streichinstrumente & Bögen seit 1848 STRING COURSES INTERNATIONAL COURSES FOR STRING PLAYERS AND MAKERS directory, guides to master classes and degree courses and an annual review of the latest accessories. We also publish a detailed instrument calendar, sponsored special WWW.THESTRAD.COM editions, and posters - all with promotional opportunities available. WWW.THESTRAD.COM 2020 EDITION £20.00 US$30.00 €25.00 Supplement to The Strad January 2020 DIGITAL PLATFORMS In 2019 we developed thestrad.com further by introducing The Strad Archive, allowing access to years of invaluable and exclusive content to our subscriber audience. -
Edgar Meyer, Bass
CONCERT SPONSORS The support from the organizations and individuals listed below has made this concert possible. The Board of Directors and all of us at the Festival are most appreciative and very thankful for their commitment to bringing musical excellence to Amelia Island and its environs. Richard and Jeanne Conner | Michel and Lyn Deroy Jack and Sandy Halsey – The Halsey Family Foundation Bud and Elizabeth Tanis, in memory of Maxine Tanis BECOME A CONCERT SPONSOR We are truly grateful for all levels of financial support from our patrons, but there is a very special group of people, who give at least $2,500 each year to become Concert Sponsors. These valued contributors are publicly recognized at the concert they sponsor and given preferred up-front seating at most other concerts. To learn more about becoming a Concert Sponsor as well as the benefits of various giving levels, please visit our website (aicmf.com), click Donate in the top navigation. Also feel free to contact our Executive Director Eric Sakurai or call our office at 904-261-1779 if you have any questions. BOARD OF DIRECTORS General & Artistic Director - Christopher Rex Emma Mills Bledsoe, President Barbara Alleva Gant Irene Sanchez, Vice President Sharon Lennon Sue Braddock, Secretary Tom Pippin Kathleen Minder, Treasurer Vicki Whittemore Hugh Williams Executive Director Emeritus - Dr. Joseph Marasco Staff Executive Director - Eric Sakurai Office Manager - Donna Hinton About the AICMF The Amelia Island Chamber Music Festival is nationally recognized as one of the foremost music events of its kind. The Festival is a not-for-profit, tax-exempt organization under Section 501 (c)(3) of the Internal Revenue Code. -
Fiddlefest 03 Report
NANCY SHEAR ARTS SERVICES REPORT OF PUBLIC RELATIONS BREAKS FOR FIDDLEFEST 2003 (As of 28 July 2004) American Symphony Orchestra League internet subscription service, 10 Oct 03 – Announcement about Fiddlefest American Symphony Orchestra League internet subscription service, 4 Dec 03 – Report on Associated Press story Associated Press – full story with photographer sent to shoot the Opus 118 rehearsal on 1 Dec. The story was carried on the wire, so had the potential to be published in more than a thousand papers. Among the ones we know of are the following: • Seattle Post-Intelligencer • Yahoo.com • msn.com entertainment • Newsday • Sun-Sentinel, FL • Comcast.net • Miami Herald • Stamford Advocate • Yahoo Asia News • TwinCities.com Pioneer Press • 13 WVEC.com Hampton Roads • Citrus County Chronicle, FL • tcpalm.com - Treasure Coast/Palm Beach • softcom.net internet communications inc. • mpdu.com – mom & pop attitude • RockKansas.com • newscenter.mind.net • FindLaw Legal News and Commentary • South Coast Today, The Standard-Times, New Bedford, MA • Shawano Leader, WI • Springfield News Sun, OH • Surferznet.net • news.netster.com • InfoStructure (online) Beethoven Radio - did promotion and gave away 5 pairs of tickets to contest winners Bergen Record (and Bergen County) – full article, “Fiddlers Fight to Preserve Music Education” by Eunnie Park, 28 Nov 03 Big Apple Parent – 17 Nov 03 – Quarter-page preview story, including interview with Roberta and photo of Roberta and the kids Black Star News – Covered concert City Guide (tourist guide given away at hotels, tourist offices, etc.) – Listing Craig’s List (online service) http://newyork.craigslist.org/eve/19316422.html - reprinted NSAS press release in its entirety in the event section Daily Record (Morris County, NJ) – listing, 29 Nov 03 Education Update – Reprinted NSAS’s press release as story, with photo; broke in newspaper and on-line The Forward – Masha Leon covered the event afterwards using quotes from Matilda Cuomo and Kitty Carlisle Hart Symphony Magazine - From the Field (10 Oct. -
Conductors' Annotated Scores: a Comprehensive Study Leandro De Magalhaes Gazineo [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2-19-2019 Conductors' Annotated Scores: A Comprehensive Study Leandro de Magalhaes Gazineo [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons, and the Music Practice Commons Recommended Citation de Magalhaes Gazineo, Leandro, "Conductors' Annotated Scores: A Comprehensive Study" (2019). LSU Doctoral Dissertations. 4807. https://digitalcommons.lsu.edu/gradschool_dissertations/4807 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]. CONDUCTORS’ ANNOTATED SCORES: A COMPREHENSIVE STUDY A Dissertation 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 Leandro de Magalhães Gazineo B.M., Universidade Federal da Bahia, 2000 M. M., Universidade Federal da Bahia, 2004 May 2019 To my wife Carmem ii Music can name the unnamable and communicate the unknowable. Leonard Bernstein iii ACKNOWLEDGEMENTS First, I would like to express my sincere gratitude to my advisor Prof. Carlos Riazuelo for his Continuous support and guidance. In addition, I would like to thank the rest of my dissertation’s Committee: Prof. MiChael Gurt, Dr. John DiCkson, and Dr. Todd Gibson, for their insightful comments and encouragement, but also for asking the hard questions that guided me to widen my research from various perspeCtives. -
Chords Employed in Twentieth Century Composition
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 1967 Chords Employed in Twentieth Century Composition Camille Bishop Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Composition Commons, and the Music Theory Commons Recommended Citation Bishop, Camille, "Chords Employed in Twentieth Century Composition" (1967). Honors Theses. 456. https://scholarlycommons.obu.edu/honors_theses/456 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Chords Formed By I nterval s Of A Third The traditional tr i ~d of t he eigh te8nth aDd n i neteenth centuries t ends to s~ un 1 trite i n t he su r roundin~s of twen tieth century d i ss onance. The c o ~poser f aces the nroble~ of i magi native us e of th e trla1 s o as t o a d d f reshness to a comnosition. In mod ern c Dmn:;sition , rna i or 8.nd minor triads are usually u s ed a s ooints of r e l axation b e f ore a nd a fter sections o f tension. Progressions of the eighte enth and n inete enth c en t u r i es we re built around t he I, IV, and V chords. All other c hords we re considered as incidenta l, serving to provide vari e t y . -
Uni International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated w ith a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
THE ART of CARLOS KLEIBER Carolyn Watson Thesis Submitted In
GESTURE AS COMMUNICATION: THE ART OF CARLOS KLEIBER Carolyn Watson Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Sydney May 2012 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Carolyn Watson Date: ii Abstract This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players. Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study. The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. -
Learnmusictheory.Net 6.4 Additional Contemporary Scales Scale = a Melodic Pattern of Seconds (Sometimes Occasional Thirds As Well) Spanning an Octave
LearnMusicTheory.net 6.4 Additional Contemporary Scales Scale = A melodic pattern of seconds (sometimes occasional thirds as well) spanning an octave. The pattern of intervals in the scale creates its characteristic sound. The major scale is one of many possibilities (W-W-h-W-W-W-h, see 1.4 Major Scales). Scales have 5 to 12 pitches. Mode = 1. Often means "scale," especially scales other than major/minor, OR 2. A scale that follows a "parent" scale pattern, but focuses on a scale step in the parent scale other than one. Ex: Dorian is the second mode of major. See 6.2 The Diatonic Modes for more. 5-note scales (pentatonic scales) Major pentatonic scale on C (also called anhemitonic, meaning "no half steps.") W W m3 W m3 Like all scales, the major pentatonic comes in different "modes" depending on which note in the scale is used as the tonal center. Since it has five notes, the scale C-D-E-G-A has five different modes. The fifth mode (far right, below) is also called the minor (or natural minor) pentatonic. mode 1 mode 2 mode 3 mode 4 mode 5 minor pentatonic Below are two more common pentatonic patterns. Each has five modes, just as the major pentatonic does. Hirajoshi pentatonic Kumoi pentatonic W h M3 h M3 W h M3 W m3 6-note scales Whole tone scale = A scale built from whole steps. Because the pattern repeats at the whole step, there are only two distinct possibilities, shown below: OR W W W W W W W W W W W W Augmented or hexatonic scale = Scale that alternates between half steps and minor 3rds. -
Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990
BOSTON SYMPHONY ORCHESTRA SEIJl OZAWA MUSIC DIRECTOR '*. v + * y Si J .Wiiii^ *"% it * W* " ; IjL mW kmW m III WWff By * 109TH SEASON 1989-90 ^f* .•'" IMPORTED .* * "4£ If ' '-€£ 4 ',;- «* vUfi//e#6 m $ "-*: V T0 CHARLES TANQUERAY & C° L J LONDON. ENGLAND. "ODUCE f OF ENGIAND • IOO% GRAIN NEUTBAl 5? I s«x.,..i; After he limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, NY. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus I J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs.