Baroque Improvisation in the Early Music Revival
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ). -
Musical Improvisation in the Baroque Era
INTERNATIONAL CONFERENCE MUSicAL IMPROVISATION IN THE BAROQUE ERA Lucca, Complesso Monumentale di San Micheletto 19-21 May 2017 CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSicAL IMPROVISATION IN THE BAROQUE ERA Organized by CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI, LUCCA in collaboration with Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music Lucca, Complesso Monumentale di San Micheletto 19-21 May 2017 ef PROGRAmmE COmmiTTEE SIMONE CIOLFI (Saint Mary’s College, Rome-Notre-Dame, IN) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ROHAN H. STEWART-MACDONALD (Warwickshire, UK) ef KEYNOTE SPEAKERS GUIDO OLIVIERI (University of Texas at Austin, TX) GIOrgIO SANGUINETTI (Università Tor Vergata, Rome) NEAL ZASLAW (Cornell University, Ithaca, NY) FRIDAY 19 MAY 10.00-10.40: Registration and Welcome Opening 10.40-10.50 • FULVIA MORABITO (President Centro Studi Opera Omnia Luigi Boccherini) Improvisation in Vocal Music 11.00-12.30 (Chair: Simone Ciolfi, Saint Mary’s College, Rome-Notre-Dame, IN) • Valentina anzani (Università di Bologna), Il mito della competizione tra virtuosi: quando Farinelli sfidò Bernacchi (Bologna 1727) • Hama Jino Biglari (Uppsala University), Reapproaching Italian Baroque Singing • antHony Pryer (Goldsmiths College, University of London), Writing the Un-writable: Caccini, Monteverdi and the Freedoms of the Performer ef 13.00 Lunch 15.30-16.30 – Keynote Speaker 1 • giorgio Sanguinetti (Università Tor Vergata, Rome), On the Origin of Partimento: A Recently Discovered Manuscript of Toccate (1695) by Francesco Mancini The Art of Partimento 17.00-18.00 (Chair: Giorgio Sanguinetti, Università Tor Vergata, Roma) Peter m. -
A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum DMA Document Presented In
Improvisation Methods: A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Colin A. Wood Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Scott A. Jones, Advisor Mr. Shawn Wallace Dr. David Bruenger Dr. Thomas Wells Dr. Michael Rene Torres 1 Copyrighted by Colin A. Wood 2019 2 Abstract National standards in music education from elementary through the university level dictate that students should receive instruction in musical improvisation. However, most university music curricula do not include coursework devoted to the subject. This document first examines the calls for reform in collegiate music education as well as the challenges and barriers to change. Then, a review of literature illuminates motivations for incorporating improvisation in music education, the benefits of improvisation training, research on assessment in improvisation, and methods for teaching improvisation. A comprehensive semester-long course for teaching non-idiomatic improvisation at the undergraduate level to musicians of all instruments and backgrounds follows. The course design, assignments, and activities are all detailed to facilitate potential adoption by collegiate institutions. The document concludes with avenues for further research on the topic. It is the hope of this author that this document inspires the creation and adoption of courses in improvisation at colleges and universities. ii Vita 2010 ……………………….. B.M. Jazz Studies, West Virginia University 2016 ……………………….. M.M. Saxophone Performance, The Ohio State University 2015 to present ……………. -
The Present Position of Authenticity
Performance Practice Review Volume 2 Article 2 Number 2 Fall The rP esent Position of Authenticity Robert Donington Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Donington, Robert (1989) "The rP esent Position of Authenticity," Performance Practice Review: Vol. 2: No. 2, Article 2. DOI: 10.5642/ perfpr.198902.02.2 Available at: http://scholarship.claremont.edu/ppr/vol2/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. On Behalf of Historical Performance The Present Position of Authenticity Robert Donington Not for the first time, the great divide is opening up between those of us, such as the readers of this Review, who aspire to authenticity in performing early music, and those others who argue, on the contrary, that authenticity is either unattainable or undesirable or both. It is also possible to take up a middle position, allowing for a measure of compromise adjusted to the practical circumstances of a given situation. But even so, it is the basic orientation of the performer which really counts. The effect of it is by no means merely theoretical. The differences in performing practice at the present time are startling, and their significance for every variety of our musical experience is growing all the time. It is not only for early music that the issue is getting to be so very topical. -
Jouer Bach À La Harpe Moderne Proposition D’Une Méthode De Transcription De La Musique Pour Luth De Johann Sebastian Bach
JOUER BACH À LA HARPE MODERNE PROPOSITION D’UNE MÉTHODE DE TRANSCRIPTION DE LA MUSIQUE POUR LUTH DE JOHANN SEBASTIAN BACH MARIE CHABBEY MARA GALASSI LETIZIA BELMONDO 2020 https://doi.org/10.26039/XA8B-YJ76. 1. PRÉAMBULE ............................................................................................. 3 2. INTRODUCTION ......................................................................................... 5 3. TRANSCRIRE BACH À LA HARPE MODERNE, UN DÉFI DE TAILLE ................ 9 3.1 TRANSCRIRE OU ARRANGER ? PRÉCISIONS TERMINOLOGIQUES ....................................... 9 3.2 BACH TRANSCRIPTEUR ................................................................................................... 11 3.3 LA TRANSCRIPTION À LA HARPE ; UNE PRATIQUE SÉCULAIRE ......................................... 13 3.4 REPÈRES HISTORIQUES SUR LA TRANSCRIPTION ET LA RÉCEPTION DES ŒUVRES DE BACH AU FIL DES SIÈCLES ....................................................................................................... 15 3.4.1 Différences d’attitudes vis-à-vis de l’original ............................................................. 15 3.4.2 La musique de J.S. Bach à la harpe ............................................................................ 19 3.5 LES HARPES AU TEMPS DE J.S. BACH ............................................................................. 21 3.5.1 Panorama des harpes présentes en Allemagne. ......................................................... 21 4. CHOIX DE LA PIECE EN VUE D’UNE TRANSCRIPTION ............................... -
8Th Annual Gamut Conference Program
The Graduate Association of Musicologists und Theorists presents the 8th annual GAMuT Graduate Student Conference Saturday, February 6, 2021, 9:00am–5:45pm CST Held via Zoom, University of North Texas Keynote Speaker: Olivia Bloechl (University of Pittsburgh) “Doing Music History Where We Are” Generously Supported by The Division of Music History, Theory, and Ethnomusicology Program 9:00 Welcome and Opening remarks Peter Kohanski, GAMuT President/Conference Co-Chair Benjamin Brand, PhD, Professor of Music History and Chair of the Division of Music History, Theory, and Ethnomusicology 9:15 Race and Culture in the Contemporary Music Scene Session Chair: Rachel Schuck “Sounds of the 'Hyperghetto': Sounded Counternarratives in Newark, New Jersey Club Music Production and Performance” Jasmine A. Henry (Rutgers University) “‘I Opened the Lock in My Mind’: Centering the Development of Aeham Ahmad’s Oriental Jazz Style from Syria to Germany” Katelin Webster (Ohio State University) “Keeping the Tradition Alive: The Virtual Irish Session in the time of COVID-19” Andrew Bobker (Michigan State University) 10:45 Break 11:00 Reconsidering 20th-Century Styles and Aesthetics Session Chair: Rachel Gain “Diatonic Chromaticism?: Juxtaposition and Superimposition as Process in Penderecki's Song of the Cherubim” Jesse Kiser (University of Buffalo) “Adjusting the Sound, Closing the Mind: Foucault's Episteme and the Cultural Isolation of Contemporary Music” Paul David Flood (University of California, Irvine) 12:00 Lunch, on your own 1:00 Keynote Address Session -
Bach2000.Pdf
Teldec | Bach 2000 | home http://www.warnerclassics.com/teldec/bach2000/home.html 1 of 1 2000.01.02. 10:59 Teldec | Bach 2000 | An Introduction http://www.warnerclassics.com/teldec/bach2000/introd.html A Note on the Edition TELDEC will be the first record company to release the complete works of Johann Sebastian Bach in a uniformly packaged edition 153 CDs. BACH 2000 will be launched at the Salzburg Festival on 28 July 1999 and be available from the very beginning of celebrations to mark the 250th anniversary of the composer's death in 1750. The title BACH 2000 is a protected trademark. The artists taking part in BACH 2000 include: Nikolaus Harnoncourt, Gustav Leonhardt, Concentus musicus Wien, Ton Koopman, Il Giardino Armonico, Andreas Staier, Michele Barchi, Luca Pianca, Werner Ehrhardt, Bob van Asperen, Arnold Schoenberg Chor, Rundfunkchor Berlin, Tragicomedia, Thomas Zehetmair, Glen Wilson, Christoph Prégardien, Klaus Mertens, Barbara Bonney, Thomas Hampson, Herbert Tachezi, Frans Brüggen and many others ... BACH 2000 - A Summary Teldec's BACH 2000 Edition, 153 CDs in 12 volumes comprising Bach's complete works performed by world renowned Bach interpreters on period instruments, constitutes one of the most ambitious projects in recording history. BACH 2000 represents the culmination of a process that began four decades ago in 1958 with the creation of the DAS ALTE WERK label. After initially triggering an impassioned controversy, Nikolaus Harnoncourt's belief that "Early music is a foreign language which must be learned by musicians and listeners alike" has found widespread acceptance. He and his colleagues searched for original instruments to throw new light on composers and their works and significantly influenced the history of music interpretation in the second half of this century. -
FOMRHI Quarterly
_. " Elena Dal Cortiv& No. 45 October 1986 FOMRHI Quarterly BULLETIN 45 2 Bulletin Supplement 8 Plans: Bate Collection 9 Plans? The Royal College of Music 12 Membership List Supplement 45 COMMUNICATIONS 745- REVIEWS: Dirtionnaire des facteurs d'instruments ..., by M. Haine £ 748 N. Meeus', Musical Instruments in the 1851 Exhibition, by P. £ A. Mactaggart; Samuel Hughes Ophideidist, by S. J, Weston} Chanter! The Journal of the Bagpipe Sodiety, vol.1, part 1 J. Montagu 14 749 New Grove DoMi: JM 65 Further Detailed Comments: The Gs. J. Montagu 18 750 New Grove DoMi: ES no. 6J D Entries E. Segerman 23 751 More on Longman, Lukey £ Broderip J. Montagu 25 752 Made for music—the Galpin Sodety's 40th anniversary J. Montagu 26 753 Mersenne, Mace and speed of playing E. Segerman 29 754' A bibliography of 18th century sources relating to crafts, manufacturing and technology T. N. McGeary 31 755 What has gone wrong with the Early Music movement? B. Samson 36 / B. Samson 37 756 What is a 'simple' lute? P. Forrester 39 757 A reply to Comm 742 D. Gill 42 758 A follow-on to Comm 739 H. Hope 44 759 (Comments on the chitarra battente) B. Barday 47 760 (Craftsmanship of Nurnberg horns) K. Williams 48 761 Bore gauging - some ideas and suggestions C. Karp 50 7632 Woodwin(On measurind borge toolmeasurins and gmodems tools ) C. Stroom 55 764 A preliminary checklist of iconography for oboe-type instruments, reeds, and players, cl630-cl830 B. Haynes 58 765 Happy, happy transposition R. Shann 73 766 The way from Thoiry to Nuremberg R. -
Redalyc.Gustav Leonhardt
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México Enríquez, Lucero Gustav Leonhardt (s’Graveland, 1928-Ámsterdam, 2012) Anales del Instituto de Investigaciones Estéticas, vol. XXXIV, núm. 101, 2012, pp. 203- 209 Instituto de Investigaciones Estéticas Distrito Federal, México Disponible en: http://www.redalyc.org/articulo.oa?id=36928273009 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Lucero Enríquez nsttut de nvstgacions stticas Gustav Leonhardt (s’Graveland, 1928-Ámsterdam, 2012) scrib sta semblanza con una gan tristza porque Gustav Leonhardt fue mi maestro y una parte muy importante de mi vida se ha ido con él. Lo visité por última vez el 1 de octubre de 2010. Se mira- Eba muy frágil y pálido, casi etéreo, conjurando la enfermedad, viviendo sólo en y por la música y, sin embargo, leyendo con entusiasmo la crónica de un via- jero del siglo vii que describía con exactitud asombrosa aspectos técnicos de las construcciones del Ámsterdam de esa época. Me mostró el libro, me leyó un párrafo sobre ventanas y a continuación me dijo: “Tengo 100 conciertos el próximo año y éste tuve casi 150”. Dos días antes había regresado de Alemania. En los países anglosajones de los años sesenta, decir “estudio con Gustav Leonhardt” era pronunciar una fórmula mágica que propiciaba en el inter- locutor unos ojos muy abiertos y un “¡ah!” de significado incierto. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 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]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war.