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Schubert's!Voice!In!The!Symphonies!
! ! ! ! A!Search!for!Schubert’s!Voice!in!the!Symphonies! ! ! ! ! ! ! ! ! ! ! ! Camille!Anne!Ramos9Klee! ! Submitted!to!the!Department!of!Music!of!Amherst!College!in!partial!fulfillment! of!the!requirements!for!the!degree!of!Bachelor!of!Arts!with!honors! ! Faculty!Advisor:!Klara!Moricz! April!16,!2012! ! ! ! ! ! In!Memory!of!Walter!“Doc”!Daniel!Marino!(191291999),! for!sharing!your!love!of!music!with!me!in!my!early!years!and!always!treating!me!like! one!of!your!own!grandchildren! ! ! ! ! ! ! Table!of!Contents! ! ! Introduction! Schubert,!Beethoven,!and!the!World!of!the!Sonata!! 2! ! ! ! Chapter!One! Student!Works! 10! ! ! ! Chapter!Two! The!Transitional!Symphonies! 37! ! ! ! Chapter!Three! Mature!Works! 63! ! ! ! Bibliography! 87! ! ! Acknowledgements! ! ! First!and!foremost!I!would!like!to!eXpress!my!immense!gratitude!to!my!advisor,! Klara!Moricz.!This!thesis!would!not!have!been!possible!without!your!patience!and! careful!guidance.!Your!support!has!allowed!me!to!become!a!better!writer,!and!I!am! forever!grateful.! To!the!professors!and!instructors!I!have!studied!with!during!my!years!at! Amherst:!Alison!Hale,!Graham!Hunt,!Jenny!Kallick,!Karen!Rosenak,!David!Schneider,! Mark!Swanson,!and!Eric!Wubbels.!The!lessons!I!have!learned!from!all!of!you!have! helped!shape!this!thesis.!Thank!you!for!giving!me!a!thorough!music!education!in!my! four!years!here!at!Amherst.! To!the!rest!of!the!Music!Department:!Thank!you!for!creating!a!warm,!open! environment!in!which!I!have!grown!as!both!a!student!and!musician.!! To!the!staff!of!the!Music!Library!at!the!University!of!Minnesota:!Thank!you!for! -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
A Master of Music Recital in Clarinet
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 A master of music recital in clarinet Lucas Randall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Lucas Randall Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Randall, Lucas, "A master of music recital in clarinet" (2019). Dissertations and Theses @ UNI. 1005. https://scholarworks.uni.edu/etd/1005 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. A MASTER OF MUSIC RECITAL IN CLARINET An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music Lucas Randall University of Northern Iowa December, 2019 This Recital Abstract by: Lucas Randall Entitled: A Master of Music Recital in Clarinet has been approved as meeting the recital abstract requirement for the Degree of Master of Music. ____________ ________________________________________________ Date Dr. Amanda McCandless, Chair, Recital Committee ____________ ________________________________________________ Date Dr. Stephen Galyen, Recital Committee Member ____________ ________________________________________________ Date Dr. Ann Bradfield, Recital Committee Member ____________ ________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Lucas Randall Entitled: A Master of Music Recital in Clarinet Date of Recital: November 22, 2019 has been approved as meeting the recital requirement for the Degree of Master of Music. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New -
Freemasonry and Civil Society: Reform of Manners and the Journal Fu¨R Freymaurer (1784-1786)
111 Freemasonry and civil society: reform of manners and the Journal fuÈr Freymaurer (1784-1786) ANDREAS OÈ NNERFORS Freemasonry as a tool of moral improvement In 1784 the Bohemian mineralogist Ignaz von Born, in his capacity as master of the Masonic lodge Zur wahren Eintracht [True Union] in Vienna, took the initiative to publish the ®rst successful Masonic period- ical in Europe, the Journal fuÈr Freymaurer.1 It was subsequently edited in twelve quarterly volumes, with an average of 250 pages, printed in 1000 copies and disseminated across the entire Habsburg Monarchy, a vast undertaking, bearing in mind the transport infrastructure of the eight- eenth century. The journal contained extensive treatments of religious traditions resembling Freemasonry, essays on Masonic virtues and values, reviews of Masonic literature, poetry and Masonic news from all parts of Europe. But a signi®cant number of the essays included in the journal also covered the impact of Freemasonry on society. The Masonic move- ment interpreted itself as a moral force with the potential to transform manners for the universal bene®t and improvement of society and mankind. Born wrote in his address to readers that, within the Order of Freemasons, freedom of thought and equality of all natural rights was a fundamental law. Hence, it was a right to communicate the results of such free deliberation to fellow brethren.2 Based upon a series of essays focusing on the moral aspects of Freemasonry, this article attempts to outline the content of these `free deliberations' that only a few years before the French Revolution read surprisingly radical, especially in the context of the Habsburg Monarchy. -
BANE Barn 29 Hip No
Property of Calumet Farm Hip No. Barn 682 BANE 29 Bay Colt; foaled May 8, 2005 Bold Reasoning Seattle Slew ...................... My Charmer Vindication........................ Strawberry Road (AUS) Strawberry Reason............ Pretty Reason BANE Majestic Light Wavering Monarch............ Uncommitted Whiffling........................... (1985) Bold Ruler Queen's Gambit ................ So Social By VINDICATION (2000). Champion 2-year-old colt, stakes winner of 4 races in 4 starts at 2, $680,950, Bessemer Trust Breeders' Cup Juvenile [G1] (AP, $556,400), Kentucky Cup Juvenile S. [G3] (TP, $62,750). Half-broth- er to stakes winner Scipion. His first foals are yearlings of 2006. Son of horse of the year Seattle Slew, leading sire, sire of 111 stakes winners, 8 champions, including Slew o' Gold ($3,533,534), A.P. Indy ($2,979,815, Belmont S. [G1], etc.), Surfside (8 wins, $1,852,987, Frizette S. [G1], etc.). 1st dam WHIFFLING, by Wavering Monarch. Winner at 3, $27,900. Dam of 12 other registered foals, 12 of racing age, including a 2-year-old of 2006, 8 to race, 6 winners, including-- PRAIRIE BAYOU (g. by Little Missouri). 7 wins in 12 starts at 2 and 3, $1,450,621, champion 3-year-old colt, Preakness S. [G1], Jim Beam S. [G2], Blue Grass S. [G2], Whirlaway Breeders' Cup S. [L] (AQU, $66,- 030), Count Fleet S. [L] (AQU, $41,040), 2nd Kentucky Derby [G1], Pap- pa Riccio S. [L] (AQU, $11,616), Inner Harbor S. [L] (LRL, $10,000). FLITCH (c. by Demons Begone). 8 wins, 2 to 4, $628,796, National Muse- um of Racing Hall of Fame S. -
Gothic Riffs Anon., the Secret Tribunal
Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte. -
Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’S Plate 3RD Belmont Stakes
Northern Dancer 90th May 2, 1964 THE WINNER’S PEDIGREE AND CAREER HIGHLIGHTS Pharos Nearco Nogara Nearctic *Lady Angela Hyperion NORTHERN DANCER Sister Sarah Polynesian Bay Colt Native Dancer Geisha Natalma Almahmoud *Mahmoud Arbitrator YEAR AGE STS. 1ST 2ND 3RD EARNINGS 1963 2 9 7 2 0 $ 90,635 1964 3 9 7 0 2 $490,012 TOTALS 18 14 2 2 $580,647 At 2 Years WON Summer Stakes, Coronation Futurity, Carleton Stakes, Remsen Stakes 2ND Vandal Stakes, Cup and Saucer Stakes At 3 Years WON Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’s Plate 3RD Belmont Stakes Horse Eq. Wt. PP 1/4 1/2 3/4 MILE STR. FIN. Jockey Owner Odds To $1 Northern Dancer b 126 7 7 2-1/2 6 hd 6 2 1 hd 1 2 1 nk W. Hartack Windfields Farm 3.40 Hill Rise 126 11 6 1-1/2 7 2-1/2 8 hd 4 hd 2 1-1/2 2 3-1/4 W. Shoemaker El Peco Ranch 1.40 The Scoundrel b 126 6 3 1/2 4 hd 3 1 2 1 3 2 3 no M. Ycaza R. C. Ellsworth 6.00 Roman Brother 126 12 9 2 9 1/2 9 2 6 2 4 1/2 4 nk W. Chambers Harbor View Farm 30.60 Quadrangle b 126 2 5 1 5 1-1/2 4 hd 5 1-1/2 5 1 5 3 R. Ussery Rokeby Stables 5.30 Mr. Brick 126 1 2 3 1 1/2 1 1/2 3 1 6 3 6 3/4 I. -
La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. -
Ludwig Van Beethoven Franz Schubert Wolfgang
STIFTUNG MOZARTEUM SALZBURG WEEK LUDWIG VAN BEETHOVEN PIANO CONCERTO NO. 1 FRANZ SCHUBERT SYMPHONY NO. 5 WOLFGANG AMADEUS MOZART PIANO CONCERTO NO. 23 ANDRÁS SCHIFF CAPPELLA ANDREA BARCA WEEK LUDWIG VAN BEETHOVEN Vienna - once the music hub of Europe - attracted all the Piano Concerto No. 1 in C major, Op. 15 greatest composers of its day, among them Beethoven, Schubert and Mozart. This concert given by András Schiff and FRANZ SCHUBERT the Capella Andrea Barca during the Salzburg Mozart Week Symphony No. 5 in B flat major, D 485 brings together three works by these great composers, which WOLFGANG AMADEUS MOZART each of them created early in life at the start of an impressive Piano Concerto No. 23 in E flat major, KV 482 Viennese career. The programme opens with Beethoven’s First Piano Concerto: Piano & Conductor András Schiff “Sensitively supported by the rich and supple tone of the strings, Orchestra Cappella Andrea Barca Schiff’s pianistic virtuosity explores the length and breadth of Beethoven’s early work, from the opulent to the playful, with a Produced by idagio.production palpable delight rarely found in such measure in a pianist”, was Video Director Oliver Becker the admiring verdict of the Salzburg press. Length: approx. 100' As in his opening piece, Schiff again succeeded in Schubert’s Shot in HDTV 1080/50i symphony “from the first note to the last in creating a sound Cat. no. A 045 50045 0000 world that flooded the mind’s eye with images” Drehpunkt( Kultur). A co-production of The climax of the concert was the Mozart piano concerto. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.