Design a Musical Instrument Worksheet
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Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Luciano Berio's Sequenza V Analyzed Along the Lines of Four Analytical
Peer-Reviewed Paper JMM: The Journal of Music and Meaning, vol.9, Winter 2010 Luciano Berio’s Sequenza V analyzed along the lines of four analytical dimensions proposed by the composer Niels Chr. Hansen, Royal Academy of Music Aarhus, Denmark and Goldsmiths College, University of London, UK Abstract In this paper, Luciano Berio’s ‘Sequenza V’ for solo trombone is analyzed along the lines of four analytical dimensions proposed by the composer himself in an interview from 1980. It is argued that the piece in general can be interpreted as an exploration of the ‘morphological’ dimension involving transformation of the traditional image of the trombone as an instrument as well as of the performance context. The first kind of transformation is revealed by simultaneous singing and playing, continuous sounds and considerable use of polyphony, indiscrete pitches, plunger, flutter-tongue technique, and unidiomatic register, whereas the latter manifests itself in extra-musical elements of theatricality, especially with reference to clown acting. Such elements are evident from performance notes and notational practice, and they originate from biographical facts related to the compositional process and to Berio’s sources of inspiration. Key topics such as polyphony, amalgamation of voice and instrument, virtuosity, theatricality, and humor – of which some have been recognized as common to the Sequenza series in general – are explained in the context of the analytical model. As a final point, a revised version of the four-dimensional model is presented in which tension-inducing characteristics in the ‘pitch’, ‘temporal’ and ‘dynamic’ dimensions are grouped into ‘local’ and ‘global’ components to avoid tension conflicts within dimensions. -
Characterizing Idiomatic Organization in Music: a Theory and Case Study of Musical Affordances
Empirical Musicology Review Vol. 4, No. 3, 2009 Characterizing Idiomatic Organization in Music: A Theory and Case Study of Musical Affordances DAVID HURON [1] School of Music, Ohio State University JONATHON BEREC University of Waterloo ABSTRACT: A theory of idiomaticism is developed and illustrated using music for B- flat valve trumpet. Physical measures were collected from two trumpet performers and used to construct a computer model of the instrument/performer. Using this model, several works composed by both trumpet virtuosi and non-trumpet players were analyzed. A conceptual distinction is made between measures of performance difficulty (how hard it is to play a particular passage) and measures of performance idiomaticism (how well suited a passage is to a specific instrument). Methods for characterizing both difficulty and idiomaticism are described. In general, the results suggest that detailed modeling of the mechanics of performance can help to pinpoint aspects of musical organization that arise from performance idioms or affordances. Repercussions for ethnomusicology, historical musicology and music analysis are discussed. Submitted 2009 June 8; accepted 2009 July 15. KEYWORDS: idiomaticism, performance, difficulty, modeling, Gebrauchmuzik AN idiom may be defined as a form of expression unique to a given language, mode of interaction, or physical circumstance. The Greek root of the word idiom suggests something personal, unique, or peculiar. In modern English usage, the word idiom is associated with vernacular expressions or sayings. Linguistic idioms, for example, include common phrases that cannot normally be translated directly from one language to another – such as “face the music,” “music to my ears,” or “pull out all the stops.” Within a given language community, different speakers can often be characterized as more or less idiomatic depending on the extent to which their speech relies on the use of idiomatic expressions. -
Parting the Veils of Debussy's Voiles Scottish Music Review
Parting the Veils of Debussy’s Voiles David Code Lecturer in Music, University of Glasgow Scottish Music Review Abstract Restricted to whole-tone and pentatonic scales, Debussy’s second piano prelude, Voiles, often serves merely to exemplify both his early modernist musical language and his musical ‘Impressionism’. Rejecting both arid theoretical schemes and vague painterly visions, this article reconsiders the piece as an outgrowth of the particular Mallarméan lessons first instantiated years earlier in the Prélude à l’après-midi d’un faune. In developing a conjecture by Renato di Benedetto, and taking Mallarmé’s dance criticism as stimulus to interpretation, the analysis makes distinctive use of video-recorded performance to trace the piece’s choreography of hands and fingers on the keyboard’s music-historical stage. A contribution by example to recent debates about the promises and pitfalls of performative or ‘drastic’ analysis (to use the term Carolyn Abbate adopted from Vladimir Jankélévitch), the article ultimately adumbrates, against the background of writings by Dukas and Laloy, a new sense of Debussy’s pianistic engagement with the pressing questions of his moment in the history of modernism. I will try to glimpse, through musical works, the multiple movements that gave birth to them, as well as all that they contain of the inner life: is that not rather more interesting than the game that consists of taking them apart like curious watches? -Claude Debussy1 Clichés and Questions A favourite of the anthologies and survey texts, Debussy’s second piano prelude, Voiles (‘sails’ or ‘veils’), has attained near-iconic status as the most characteristic single exemplar of his style. -
E Flat Alto Saxophone and Piano Accompaniment
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 20 Issue 7 Version 1.0 Year 2020 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X Using Ethno-Compositional Materials for Contemporary Music Composition: ‘Ovie’ E Flat Alto Saxophone and Piano Accompaniment as Musical Example By Okafor, Justina Enoh Abstract- The search for musico-cultural identity and nationalism in Africa as well as in Nigeria gave rise to the evolution of new compositional innovations which stemmed from the use of ethno-compositional materials drawn from such cultures for compositional purposes which are contemporary in structure, culturally oriented and globally relevant. In response to this search, Nigerian Contemporary musicians and Art musicians/composers went back as it were to their ‘root’ giving birth to many contemporary compositions by various contemporary musicians and art musicians in Nigeria and Afr ica including other cultural clime. One of such contemporary composition is the musical example titled ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment. In the musicological presentation of ‘Ovie’ for E flat Alto Saxophone and Piano accompaniment, the melodic structure/passage of the song texts ‘ovie’ was used as thematic mater ial to compose an entire work of 173 bars/measures. Presentation of information pertaining to its pre-compositional consideration and compositional techniques employed in the composition titled ‘ovie’ was discussed. Also literatures were reviewed to buttress facts where necessary. Keywords: ethno, compositional materials, musicocultural. GJHSS-A Classification: FOR Code: 190409 UsingEthnoCompositionalMaterialsforContemporaryMusicCompositionOvieEFlatAltoSaxophoneandPianoAccompanimentasMusicalExample Strictly as per the compliance and regulations of: © 2020. -
Combining Jazz Techniques and Idiomatic Writing for Varied Ensembles
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2019 Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis Glyn Alan MacDonald Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Composition Commons, and the Music Performance Commons Recommended Citation MacDonald, G. A. (2019). Towards interaction: Combining jazz techniques and idiomatic writing for Varied ensembles. A collection of musical works -and- An exegesis. https://ro.ecu.edu.au/theses/2204 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2204 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. Youe ar reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
Boston Symphony Orchestra Concert Programs, Summer, 1990
Tangtewqpd . urlake erform miracles They dissolve the stresses and strains of everyday living. The Berkshires' most successful 4-seasons hideaway, a gated private enclave with V^-mile lake frontage, golf and olympic pool, tennis, Fitness Center, lake lodge —all on the lake. Carefree 3 -and 4- Your bedroom country condominiums with luxury amenities and great skylights, fireplaces, decks. Minutes from Jiminy Peak, Brodie Berkshire Mountain, Tanglewood, Jacob's Pillow, Canyon Ranch. In the $200s. escape SEE FURNISHED MODELS, SALES CENTER TODAY. (413) 499-0900 or Tollfree (800) 937-0404 LAKECREST Dir: Rte. 7 to Lake Pontoosuc. Turn left at Lakecrest sign 7 DIRECTLY ON LAKE PONTOOSUC on Hancock Rd. /10 -mile to Ridge Ave. Right turn to Lakecrest gated entry. Ct££ h\> Prncfw Seiji Ozawa (TMC '60), Music Director Carl St. Clair (TMC '85) 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 President J. P. Barger, Chairman George H. Kidder, 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. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W Hatch, Jr. Richard A. Smith Julian Cohen Mrs. BelaT. 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. -
Copyright by Sue-Jean Park 2006
Copyright by Sue-Jean Park 2006 The Treatise Committee for Sue-Jean Park Certifies that this is the approved version of the following treatise: The Concept of Fantasie in Two Versions of The Carmen Fantasie ; Sarasate and Waxman Committee: Elliott Antokoletz, Co-Supervisor Vincent Frittelli, Co-Supervisor Eugene Gratovich Edward Pearsall Phyllis Young Moon. C. Won The Concept of Fantasie in Two Versions of The Carmen Fantasie ; Sarasate and Waxman by Sue-Jean Park, B.M., M.M. treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctoral of Musical Arts The University of Texas at Austin May, 2006 Dedication I dedicate this treatise to my parents whose patience and support has made my work possible Acknowledgments I thank Dr. Elliott Antokoletz and Professor Vincent Frittelli for their guidance and their tireless efforts in this project. They have never failed to offer their encouragement, have given me greater understanding of the music, and have never waned in their enthusiasm. I am grateful to them for this and for many other things. The current copyright owner, John Waxman, has informed me in his letter that under no circumstances may I reproduce any of Franz Waxman’s music in my treatise. This stipulation has prevented me from presenting an illustrative comparison of Waxman’s Carment Fantasy with that of Sarasate or the Bizet opera. v The Concept of Fantasie in Two Versions of The Carmen Fantasie ; Sarasate and Waxman Publication No._____________ Sue-Jean Park, D.M.A. -
The Myth of Equidistance in Thai Tuning
The Myth of Equidistance in Thai Tuning John Garzoli INTRODUCTION ESTERN and Thai Scholars of Thai music generally accept that Thai classical Wmusic (phleng Thai doem) is based on a seven-tone equidistant tuning system which is sometimes called 7-tet (7-tone equal tempered). According to this theory, Thai tuning is defined by an ideal interval of 171.429 cents. This understanding stems from an encounter in London in 1885 between the noted mathematician Alexander J. Ellis, and a senior Siamese diplomat, Prince Prisdang. Despite persistent doubts about this theory, it has not been seriously questioned and no alternative explanations have been put forward to challenge the assumption that Ellis’s theory is accurate and comprehensive. This article identifies problems with the theory of equidistance and shows that the widespread acceptance of the theory and its ideal interval is misplaced because it is incorrect to say that Thai music is based on the equidistant division of the harmonic octave into seven intervals. I will point out problems with the theory that stem from its formulation. I will draw attention to empirical research that shows instruments are not tuned to 171.429.1 I will show that tuners do not consider the theoretical interval when tuning, and show that the theory overlooks certain tuning concepts and practices that are central to Thai music. Although I will discuss the mathematical formulations that have been used to describe Thai tuning, the theoretical orientation of this article is primarily informed by concepts that circulate within the discipline of ethnomusicology. These aim to describe and explain the details of musical systems in terms that reflect the concepts and practices of those who perform and listen to the music. -
Essay VIII: a Key Work in the Piano Output of Christopher Bochmann
Essay VIII: a key work in the piano output of Christopher Bochmann Ana Telles (Universidade de Évora | CESEM) https://perf.esml.ipl.pt/index.php/component/k2/item/9-essay-viii-a-key-work-in-the- piano-output-of-christopher-bochmann#_ftn2 Abstract Christopher Bochmann's pianistic language is based on a fairly conventional instrumental technique, inherited from the 19th century pianistic tradition, yet encompassing characteristic features developed by authors associated with the 2nd Viennese School and post-serialism, as well as significant experiences in the fields of free forms and aleatoric music. The permeability to a neoclassical sensibility, probably stimulated by contact with Nadia Boulanger in the formative years, has remained over time and manifests itself from time to time, both in the use of techniques, genres and forms of the past, but also, more comprehensively, in a constant search for balance and proportionality, across all of Bochmann’s works. From 1991, the year he composed Essay VIII, for solo piano, Bochmann inaugurated his maturity phase, based on what he calls a “unified technique”. The significant consistency of his instrumental language from then on results, to a large extent, from the synthesis of previously explored elements that Essay VIII operates, as I intend to demonstrate throughout this essay. Furthermore, we shall see how specific traits, not always particularly idiomatic, of Bochmann’s pianistic idiom enhance the aural understanding of the compositional principles that structure the work in analysis, and how a successful performance of the work depends largely on the understanding and highlighting, through specific performance practices, of the composer’s choices. -
Classifying Musical Scores by Instrument
Classifying Musical Scores By Instrument Bryce Cai Michael Svolos Stanford University Stanford University Stanford, CA 94305 Stanford, CA 94305 [email protected] [email protected] Abstract A given line of music can be played with greater or less ease by different musical instruments, due to the invariants of their construction and design, and ideally, these instrumental idioms are taken into consideration when writing a part for that instrument. Thus, the question posed by this paper is whether these idoms, these differences, can be used to classify instrumental parts by instrument. We trained a multiclass classifier using linear regression over 860 instrumental parts from Classical-era musical scores. Our one-vs-one algorithm saw 23% accuracy, exceeding the baseline by 9%. 1 Task definition Instrumental music from the Classical era (1750-1825) is written with individual lines of music for each instrument. Each line is played at the same time to create the sounds of the complete piece, whether it’s a Bach piece for solo flute, a Mozart concerto for clarinet and orchestra, or a Hadyn string quartet. Every wind or string instrument has its own range of notes that it’s capable of playing - for instance, the flute cannot play below the B below middle C. Each instrument also has a different, much more nebulous set of limitations of what it can easily play, though. These limitations are a consequence of the way each instrument was designed physically and acoustically. An example of this is a quick passage on trombone that requires many long jumps of the slide; such a passage is technically possible, but it would require great skill at the instrument.