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Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
Colombian Nationalism: Four Musical Perspectives for Violin and Piano
COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada. -
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. -
Francesco Corbetta - the Best of All
Francesco Corbetta - The Best of All A study of his life and works Section IV – Thematic Index & Bibliography Introduction p.343-344 Thematic index p.345-365 Thematic index Appendix p.366-368 Bibliography p.369-379 343 Thematic Index to Pieces in Manuscript Sources Introduction The final section of this study is a thematic index to pieces attributed to Corbetta in sources other than his five surviving printed books. Pieces are grouped first by key, then by movements from the standard suite in the order that they usually appear – i.e. prelude, allemande, courante, sarabande, gigue followed by miscellaneous movements – such as the minuet, etc. Sets of variations on the chaconne, folias and passacailles are at the end. The pieces have been given a running catalogue number starting with FC 01. Each entry includes a transcription of the opening bars of the piece. These have been transcribed with notes on the fifth course always in the upper octave identified by lozenge shaped note-heads. Notes on the fourth course are transcribed in the lower or upper octave depending on the underlying part writing identified by lozenge shaped note-heads highlighted in blue. In the sake of clarity notes on the fifth course which duplicate notes on the upper courses in unison have usually been omitted from five-part chords unless they have implications for the part-writing. This is followed by details of the source(s) in which the piece is found, the folio/page number and the title of the piece in the source with the attribution in brackets. -
Santiago De Murcia: the French Connection in Baroque Spain
1 ,,'ttP'f i ·t1I1'I'WSUMn ttW'UWWW tttWf1ctttttEK=.er$1 .. , ny)UC S7r?7S1Z'tt?· mf..CWWttttrfWgcWtBlEFF ' 'ttEffBFH'i This interpretation, however, is seen to be inaccurate and mislead ing when we examine the two books for baroque guitar by Santiago de Murcia, his Resumen de acompditar la parte con la guitarra (I714) and the "Passacalles y obras de guitarra por todos los tonos naturales y acidentales [sic] (1732)."4 The opening pieces in the Resumen are not original compositions, as has generally been assumed. Each one of them is a baroque guitar arrangement of a contredanse taken from publications of the French dancing master Raoul-Auger Feuillet. Oc cupying the opening pages of the Resumen are eight selections from Feuillet's Recueil de dances compos~es par M. Pecour...et mise sur Ie papier par M. Feuillet (Paris, 1700) (see Appendix Ia). The dances from pages 83 to 85 of the Resumen are drawn from Feuillet's Recueil de contredances mises en chor~graphie (Paris, 1706) (see Appendix Ib). Without question, the remaining dances in the Resumen are also SANTIAGO DE MURCIA: based on Feuillet publications, although the majority of them are no longer extant. One copy of Feuillet's Recueil in the Biblioteca Na TIlE FRENCH CONNECI10N IN BAROQUE SPAIN cional in Madrid includes an additional plate in the back of the book advertising the publications available from Feuillet's shop.s A com By Craig H. Russell parison of this list with the remaining dances in the Resumen (pp. 65-82) reveals not only the same dances, but the same dances in the It is a common misconception that baroque music in Spain received same order (see Appendix Ie). -
Folia Variations” Written for the Guitar
Performa ’09 – Conference on Performance Studies University of Aveiro, May 2009 The role of the development of the guitar and the changing performance techniques on the evolution of “folia variations” written for the guitar Bülent Ergüden, Yıldız Technical University This paper focuses on how the compositional processes, the development of the guitar as an instrument, and its performance techniques specifically affected the folia theme and the variations written for this instrument, considering that the folia theme and the variations have constantly evolved over four centuries. In this research, the folia is treated as the framework, the role of improvisation and variation in the evolution of a musical work in general and the historical, cumulative effects on the folia are ontologically viewed within the model ‘living organism’. Musical forms evolve during the course of history. When composers add new elements to their work in a given form, they cumulatively contribute to the evolution of that form. The main elements that help this evolution are melody, rhythm, harmony, style, structure, and the development of instrumental technique. In this article, the influence of the evolution of instruments and performance technique on the composition of folias will be investigated. Although it first appeared during the Renaissance, the golden age of folia was during the Baroque period. In the first volume of his four-volume treatise called The Folia, The Saraband, The Passacaglia and The Chacconne, Richard Hudson investigates the folia and its form (Hudson, R.1982:XV-XXXVIII). He notes that the common aspects of all these four dances are that they were written for the five-course Baroque guitar and feature the variation form. -
FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N. -
Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle . -
Violin Syllabus / 2013 Edition
VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. -
Three, Four & Twenty Lutes
FESTIVAL CONCERT NEW ENGLAND CONSERVATORY’S JORDAN HALL | THURSDAY, JUNE 11 | 5PM Three, Four & Twenty Lutes Paul O’Dette, director Canzone a Otto Voci per suonar à 4 Liuti (1599) Giovanni Antonio Terzi (fl. 1580–1600) Canzone a Tre Liuti (1623) Alessandro Piccinini (1566–ca. 1638) Canzon XIII à 8 Giovanni Gabrieli arranged by Patrick O’Brien (ca. 1554–1612) Suite for Four Lutes (1616) Nicolas Vallet Ballet (ca. 1583–ca. 1642) Ballet Est-ce Mars Courante de Mars Un jour de la semaine Allon aux noces Galliarde Passamezzo di Zorzi — Padoana — Saltarello (1564) Giovanni Pacoloni Als ick u vinde (1584) Hubert Waelrant arranged by Emanuel Adriaenssen (ca. 1554–1604) (ca. 1517–1595) Madonna mia pietà Orlando di Lasso arranged by Adriaenssen (1532–1594) O Villanella Waelrant arranged by Adriaenssen Three Masque Dances “for the twenty Lutes” Robert Johnson arranged by Tim Crawford and Patrick O’Brien (ca. 1583–1633) The Songe called Trumpets Robert Parsons reconstructed by Lyle Nordstrom (ca. 1535–1571/2) BOSTON EARLY MUSIC FESTIVAL extends heartfelt thanks This afternoon’s performance of Three, Four & Twenty Lutes is sponsored by the New York Continuo Collective, in loving memory of Pat O’Brien, whose genius inspires us all 2015 BOSTON EARLY MUSIC FESTIVAL 325 FESTIVAL CONCERT Suite from Terpsichore (1612) Michael Praetorius arranged by Patrick O’Brien and Grant Herreid (1571–1621) Ballet CCLVIII Courante LV Courant CL M.M. Wüstrow Bransle de la Torche XV Reprinse secundam inferiorem CCCX Courante CLXXXIII Dalle più alte sfere Antonio Archilei (ca. 1541–1612) O che nuovo miracolo Emilio de’ Cavalieri Ellen Hargis, Nell Snaidas & Danielle Reutter-Harrah, voice & guitar (ca. -
John Griffiths Improvisation and Composition in the Vihuela Songs
John Griffiths Improvi sati on and Composition in the Vihuela Songs of Luis Milan and Alonso Mudarra The aim of this study is to explore the accompanied solo songs included in two collections of Spanish vihuela music from the first half of the sixteenth century and their possible links with unwritten improvisatory traditions. In contrast to the arrangements of vocal polyphony for voice and vihuela in later books, the songs of Luis Milan and Alonso Mudarra are unique not only in Spanish music, but also in a broader European context. 1 Until very late in the sixteenth century, most Jute songs in European sources are intabulated arrangements of chansons, motets, madrigals, frottole and other polyphonic genres. 2 The questions raised by the songs considered here concern the provenance of the solo lute song and the manner in which it was cultivated by early practitioners.3 Traditional readings of the development of European music see Milan and Mudarra's vihuela songs as something of an anomaly. Older and now generally outrnoded theory, rooted firmly in source studies, held that the known tradition of solo instrumental music was born in the late fifteenth and early sixteenth centuries, and that its subsequent development was a process of gradual eman- cipation from the dominant polyphonic tradition that spawned it. On the other hand, the accompanied solo sang has been viewed as one of the great novelties of the late sixteenth century and, as a novelty of its time, is championed as one of the key inventions that separates the musical baroque from the renaissance. -
Claire Fontijn
Claire Fontijn curriculum vitae POSITIONS Wellesley College, Phyllis Henderson Carey Professor of Music, 2016– Wellesley College, Chair of the Department of Music, 2013–18 Wellesley College, Professor of Music, 2013–16 Wellesley College, Associate Professor of Music, 2001–2013 Wellesley College, Eastern College Consortium (Vassar, Wellesley, Wesleyan), Bologna, Italy, Resident Director, 2009–10 Wellesley College, Barbara Morris Caspersen Associate Professor of the Humanities, 2008–11 Wellesley College, Chair of the Department of Music, Summer 2002–Winter 2003, 2004–5, and 2006–7 Wellesley College, Assistant Professor of Music, 1994–2001 Wellesley College, Director, Collegium Musicum, 1994–2000 LANGUAGES Fluency in French, Dutch, and Italian Reading knowledge of Latin, German, and Spanish PUBLICATIONS BOOKS Editor and Contributor. Uncovering Music of Early European Women (1250–1750). New York and London: Routledge, 2020. The Vision of Music of Saint Hildegard’s Scivias—Synthesizing Image, Text, Notation, and Theory. Transmedia electronic publication, Music Word Media Group, 2013. Editor with Susan Parisi and Contributor. Fiori musicali. Liber amicorum Alexander Fontijn, c.v., 2 Silbiger. Sterling Heights, MI: Harmonie Park Press, 2010. Desperate Measures: The Life and Music of Antonia Padoani Bembo. New York: Oxford University Press, 2006/2013 paperback. REFEREED ARTICLES AND BOOK CHAPTERS IN MUSICOLOGY “Strozzi’s ‘La sol fà, mi, rè, dò’: Code for Courtesan?” in Sabine Meine and Daria Perocco, eds. Proceedings of the Barbara Strozzi Symposium. Initial publication preparation for Georg Olms Verlag, forthcoming c. 2021. Submitted. “Representations of Weeping in Barbara Strozzi’s Laments,” 145–70 in Claire Fontijn, ed. Uncovering Music of Early European Women (1250–1750), New York and London: Routledge, 2020.