2018-2019 UIL Music Memory Study Guide
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La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life. -
FOR IMMEDIATE RELEASE the Guess Who
FOR IMMEDIATE RELEASE The Guess Who will rock Tulalip Resort Casino in May 2019 TULALIP, WA – (January 25, 2019) – The Canadian rock band, The Guess Who, will be performing live in Tulalip Resort Casino’s Orca Ballroom on Friday, May 10. Formed in Winnipeg, The Guess Who initially gained recognition throughout Canada before becoming an international success in the late 1960s and 1970s. The Guess Who has enjoyed 14 Top 40 hits, including "These Eyes," "Clap For the Wolfman," "Hand Me Down World," "No Time," "Star Baby" and "Share the Land.” Additional classics include their number one rock anthem, "American Woman" and "No Sugar Tonight," plus "Laughing" and "Undun." The Guess Who are amongst music's most enduring bands and are eternally etched within the very fabric of pop culture history. Get up-close seating in the Orca Ballroom, an intimate 1,200-seat entertainment venue at Tulalip Resort Casino. Tickets go on sale Friday, March 15, at 10AM PST and start at $50. Tickets will be available for purchase on Ticketmaster.com or service charge free at the Tulalip Box Office. Must be 21+ to attend. About Tulalip Resort Casino Award-winning Tulalip Resort Casino is the most distinctive gaming, dining, meeting, entertainment and shopping destination in Washington State. The AAA Four-Diamond resort’s world-class amenities have ensured its place on the Condé Nast Traveler Gold and Traveler Top 100 Resorts lists. The property includes 192,000 square feet of gaming excitement; a luxury hotel featuring 370 guest rooms and suites; 30,000 square feet of premier meeting, convention and wedding space; the full-service T Spa; and eight dining venues. -
Lyric Provinces in the English Renaissance
Lyric Provinces in the English Renaissance Harold Toliver LYRIC PROVINCES IN THE ENGLISH RENAISSANCE Harold Toliver Poets are by no means alone in being pre pared to see new places in settled ways and to describe them in received images. Outer regions will be assimilated into dynasties, never mind the hostility of the natives. The ancient wilderness of the Mediterranean and certain biblical expectations of what burning bushes, gods, and shepherds shall exist every where encroach upon the deserts of Utah and California. Those who travel there see them and other new landscapes in terms of old myths of place and descriptive topoi; and their descriptions take on the structure, to nality, and nomenclature of the past, their language as much recollection as greeting. In Professor Toliver's view, the concern of the literary historian is with, in part, that ever renewed past as it is introduced under the new conditions that poets confront, and is, therefore, with the parallel movement of liter ary and social history. Literature, he reminds us, is inseparable from the rest of discourse (as the study of signs in the past decade has made clearer), but is, nevertheless, distinct from social history in that poets look less to common discourse for their models than to specific literary predecessors. Careful observ ers of place, they seek to bring what is distinct and valuable in it within some sort of verbal compass and relationship with the speaker. They bring with them, however, formulas and tf > w if a loyalty to a cultural heritage that both com plicate and confound the lyric address to place. -
Canada Needs You Volume One
Canada Needs You Volume One A Study Guide Based on the Works of Mike Ford Written By Oise/Ut Intern Mandy Lau Content Canada Needs You The CD and the Guide …2 Mike Ford: A Biography…2 Connections to the Ontario Ministry of Education Curriculum…3 Related Works…4 General Lesson Ideas and Resources…5 Theme One: Canada’s Fur Trade Songs: Lyrics and Description Track 2: Thanadelthur…6 Track 3: Les Voyageurs…7 Key Terms, People and Places…10 Specific Ministry Expectations…12 Activities…12 Resources…13 Theme Two: The 1837 Rebellion Songs: Lyrics and Description Track 5: La Patriote…14 Track 6: Turn Them Ooot…15 Key Terms, People and Places…18 Specific Ministry Expectations…21 Activities…21 Resources…22 Theme Three: Canadian Confederation Songs: Lyrics and Description Track 7: Sir John A (You’re OK)…23 Track 8: D’Arcy McGee…25 Key Terms, People and Places…28 Specific Ministry Expectations…30 Activities…30 Resources…31 Theme Four: Building the Wild, Wild West Songs: Lyrics and Description Track 9: Louis & Gabriel…32 Track 10: Canada Needs You…35 Track 11: Woman Works Twice As Hard…36 Key Terms, People and Places…39 Specific Ministry Expectations…42 Activities…42 Resources…43 1 Canada Needs You The CD and The Guide This study guide was written to accompany the CD “Canada Needs You – Volume 1” by Mike Ford. The guide is written for both teachers and students alike, containing excerpts of information and activity ideas aimed at the grade 7 and 8 level of Canadian history. The CD is divided into four themes, and within each, lyrics and information pertaining to the topic are included. -
Concert Magic & Lesson Song Lists
Concert Magic & Lesson Song Lists CONCERT MAGIC SONG LIST Category Song Name Key Mode Children's Songs Bingo G#1 EB Frère Jacques F#1 MP Good Morning To You F1 MP Hickory Dickory Dock D#1 EB I'm A Little Teapot A#0 MP Itsy, Bisty Spider A1 MP London Bridge C#1 MP Mary Had A Little Lamb C1 MP Pop Goes The Weasel E1 MP Row,Row,Row, Your Boat D1 MP The Farmer In The Dell G1 MP This Old Man B0 MP Twinkle,Twincle Little Star A0 MP Christmas Songs Deck The Halls C2 MP Hark The Herald Angels Sing A#1 MP Jingle Bells B1 MP Joy To The World D2 MP O Come All Ye Faithful C#2 MP Silent Night E2 MP The First Noel D#2 MP We Wish You A Merry Christmas F2 MP What Child Is This? (Greensleeves) F#2 MP Patriotic Songs America The Beautiful A2 MP Battle Hymn Of The Republic G#2 MP Hail To The Chief B2 MP My Country 'Tis Of Thee G2 MP Yankee Doodle A#2 MP American Classics Auld Lang Syne C#4 MP Beautiful Dreamer A#4 EB Bill Bailey Won't You Come Home G3 EB Bycicle Built For Two F4 EB Clementine A3 MP Danny Boy C3 EB Down In The Valley C#3 EB Fascination A#3 SK For He's A Jolly Good Fellow F#3 EB Give My Regards To Broadway G#3 SK Home On The Range B3 MP Home Sweet Home D#3 EB In The Good Old Summertime F3 EB Let Me Call You Sweetheart D3 EB Michael Row The Boat Ashore D4 MP My Bonnie Is Over The Ocean E3 EB Oh Susanna D#4 SK On Top Of Old Smokey E4 EB Take Me Out To The Ballgame C4 EB The Band Played On G4 EB The Camptown Races F#4 MP When Johnny Comes Marching Home G#4 MP When The Saints Go Marching In A4 EB 2 Concert Magic & Lesson Song Lists Category Song -
01-Sargeant-PM
CERI OWEN Vaughan Williams’s Early Songs On Singing and Listening in Vaughan Williams’s Early Songs CERI OWEN I begin with a question not posed amid the singer narrates with ardent urgency their sound- recent and unusually liberal scholarly atten- ing and, apparently, their hearing. But precisely tion devoted to a song cycle by Ralph Vaughan who is engaged in these acts at this, the musi- Williams, the Robert Louis Stevenson settings, cal and emotional heart of the cycle? Songs of Travel, composed between 1901 and The recollected songs are first heard on the 1904.1 My question relates to “Youth and Love,” lips of the speaker in “The Vagabond,” an os- the fourth song of the cycle, in which an unex- tensibly archetypal Romantic wayfarer who in- pectedly impassioned climax erupts with pecu- troduces himself at the cycle’s opening in the liar force amid music of otherwise unparalleled lyric first-person, grimly issuing a characteris- serenity. Here, as strains of songs heard earlier tic demand for the solitary life on the open intrude into the piano’s accompaniment, the road. This lyric voice, its eye fixed squarely on the future, is retained in two subsequent songs, “Let Beauty Awake” and “The Roadside Fire” I thank Byron Adams, Daniel M. Grimley, and Julian (in which life with a beloved is contemplated).2 Johnson for their comments on this research, and espe- cially Benedict Taylor, for his invaluable editorial sugges- With “Youth and Love,” however, Vaughan tions. Thanks also to Clive Wilmer for his discussion of Williams rearranges the order of Stevenson’s Rossetti with me. -
VAUGHAN WILLIAMS His Broadcasting Career Covers Both Radio and Television
557643bk VW US 16/8/05 5:02 pm Page 5 8.557643 Iain Burnside Songs of Travel (Words by Robert Louis Stevenson) 24:03 1 The Vagabond 3:24 The English Song Series • 14 DDD Iain Burnside enjoys a unique reputation as pianist and broadcaster, forged through his commitment to the song 2 Let Beauty awake 1:57 repertoire and his collaborations with leading international singers, including Dame Margaret Price, Susan Chilcott, 3 The Roadside Fire 2:17 Galina Gorchakova, Adrianne Pieczonka, Amanda Roocroft, Yvonne Kenny and Susan Bickley; David Daniels, 4 John Mark Ainsley, Mark Padmore and Bryn Terfel. He has also worked with some outstanding younger singers, Youth and Love 3:34 including Lisa Milne, Sally Matthews, Sarah Connolly; William Dazeley, Roderick Williams and Jonathan Lemalu. 5 In Dreams 2:18 VAUGHAN WILLIAMS His broadcasting career covers both radio and television. He continues to present BBC Radio 3’s Voices programme, 6 The Infinite Shining Heavens 2:15 and has recently been honoured with a Sony Radio Award. His innovative programming led to highly acclaimed 7 Whither must I wander? 4:14 recordings comprising songs by Schoenberg with Sarah Connolly and Roderick Williams, Debussy with Lisa Milne 8 Songs of Travel and Susan Bickley, and Copland with Susan Chilcott. His television involvement includes the Cardiff Singer of the Bright is the ring of words 2:10 World, Leeds International Piano Competition and BBC Young Musician of the Year. He has devised concert series 9 I have trod the upward and the downward slope 1:54 The House of Life • Four poems by Fredegond Shove for a number of organizations, among them the acclaimed Century Songs for the Bath Festival and The Crucible, Sheffield, the International Song Recital Series at London’s South Bank Centre, and the Finzi Friends’ triennial The House of Life (Words by Dante Gabriel Rossetti) 26:27 festival of English Song in Ludlow. -
Mélodie French Art Song Recital; Wednesday, April 28, 2021
UCM Music Presents UCM Music Presents MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students Hart Recital Hall Cynthia Groff, piano Hart Recital Hall Cynthia Groff, piano Wednesday, April 28, 2021 Denise Robinson, piano Wednesday, April 28, 2021 Denise Robinson, piano 7:00 p.m. 7:00 p.m. In consideration of the performers, other audience members, and the live recording of this concert, please In consideration of the performers, other audience members, and the live recording of this concert, please silence all devices before the performance. Parents are expected to be responsible for their children's behavior. silence all devices before the performance. Parents are expected to be responsible for their children's behavior. Le Charme Ernest Chausson (1855-1899) Le Charme Ernest Chausson (1855-1899) Lucas Henley, baritone Lucas Henley, baritone Les cygnes Reynaldo Hahn (1874-1947) Les cygnes Reynaldo Hahn (1874-1947) Anna Sanderson, soprano Anna Sanderson, soprano Lydia Gabriel Fauré (1845-1924) Lydia Gabriel Fauré (1845-1924) Alex Scharfenberg, tenor Alex Scharfenberg, tenor Ici-bas! Claude Debussy (1862-1918) Ici-bas! Claude Debussy (1862-1918) Gabrielle Moore, soprano Gabrielle Moore, soprano Fleur desséchée Pauline García Viardot (1821-1910) Fleur desséchée Pauline García Viardot (1821-1910) Janie Turner, soprano Janie Turner, soprano Le lever de la lune Camille Saint-Saëns (1835-1921) Le lever de la lune Camille Saint-Saëns (1835-1921) Nikolas Baumert, baritone Nikolas Baumert, baritone continued on reverse continued on reverse Become a Concert Insider! Text the word “concerts” to 660-248-0496 Become a Concert Insider! Text the word “concerts” to 660-248-0496 or visit ucmmusic.com to sign up for news about upcoming events. -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
Program Notes Program
Program Notes Program Notes by April L. Racana 24 Jun Leonard Bernstein (1918-1990) Overture to "Candide" It has been said that Leonard Bernstein never approached any work the same way twice, and his score for Candide may very well be the epitome of the extent to which he would go to continually rework and revise his compositions. The opening for this show, which has been dubbed both 24 musical and operetta, came on December 1st, 1956 and was based on Jun Voltaire’s eighteenth-century satire, which had been adapted by author Lillian Helman. The first run of the show only lasted 73 performances, however it didn’t take long for the ‘Overture’ to become an orchestral piece on its own, making its debut performance with the New York Philharmonic in January 1957. Over the next thirty years Bernstein continually revised the entire musical numerous times, with varying success in its many transformations. The ‘Overture’ contains a mixture of tunes from the show, including The Best of All Possible Worlds, Oh Happy We, and Glitter and Be Gay. So closely associated with the New York Philharmonic was Bernstein, and so well-loved was this work, that at a memorial concert following Bernstein’s death in 1990, members of the orchestra performed the ‘Overture’ without a conductor as a tribute to the symphony’s Laureate Conductor. Work composed: 1956 World premiere: 26th January, 1957 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, triangle, cymbals, glockenspiel, xylophone), harp, strings 26 Program Notes Program Notes George Gershwin (1898-1937) Rhapsody in Blue Originally titled American Rhapsody, George Gershwin was apparently convinced by his lyricist brother, Ira, that the title needed some re-thinking. -
THE GUESS WHO BIOGRAPHY As the House Lights Fade Down and The
THE GUESS WHO BIOGRAPHY As the house lights fade down and the stage spots flair up, the sounds of rock and roll with classic sensibilities and progressive nuances permeate the crowd. At first a familiar chord strikes everyone's attention, then comes a catchy chorus followed by a memorable solo or remarkable moment of improvisation. Such an ear-pleasing arsenal carries into a non-stop evening of precise performance taking fans on a roller coaster ride of electric instrumentation, timeless balladry, unpredictable Jamming and the ultimate sing-a-long experience. It's a position held by a troupe of true musical luminaries who through over five decades in show business have been loaded with more hits than members can count, record sales well into the multi- millions and more drama than a VH1 "Behind the Music" episode and an E! "True Hollywood Story" documentary combined. The name is none other than The Guess Who, a group that's connected with the masses throughout a exultant hit parade spanning fourteen Top 40 hits, including "These Eyes," "Clap For the Wolfman," "Hand Me Down World," "No Time," "Star Baby" and "Share the Land." Add in fellow classics and double sided singles like their #1 rock anthem "American Woman" and "No Sugar Tonight," plus "Laughing" and "Undun," and the Canadian bred stateside conquerors are amongst music's most indelible treasures who are eternally etched within the very fabric of pop culture history. "You're going to see an excellent version of the songs and hear exactly how they should sound or be played," verifies founding member and original drummer/songwriter Garry Peterson.