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Teaching Plan Das Veilchen CMP 2015 Russell FINAL
Das Veilchen (Mozart) CMP Teaching Plan June 2015 M. Russell 1 Prepared by Marcia L. Russell CHECKLIST OF MATERIALS NEEDED Platteville, WI • Powerpoint/smart lesson [email protected] • Melody score and full score [email protected] • iTunes, YouTube • IPA Bingo • Student Journals Das Veilchen • Student iPads Wolfgang Amadeus Mozart (1756-1791) Poem by Johann Wolfgang von Goethe (1749-1832) German Art song for solo voice (unison choir) Piano Accompaniment Public Domain http://imslp.org/wiki/Das_Veilchen,_K.476_(Mozart,_Wolfgang_Amadeus) Original key: G Major This edition: Eb Major Analysis Broad Description/Type German Art song for solo voice (unison choir) Background Information Music composed by Mozart, poem by Goethe, two of the most influential and well-known artists of the Classical era. “Mozart was born in Salzburg to a musical family. From an early age, the young Mozart showed all the signs of a prodigious musical talent. By the age of 5 he could read and write music, and he would entertain people with his talents on the keyboard. By the age of 6 he was writing his first compositions. Mozart was generally considered to be a rare musical genius, though Mozart said that he was diligent in studying other great composers such as Haydn and Bach. During his childhood, he would frequently tour various palaces around Europe playing for distinguished guests. Aged 17, he accepted a post as a court musician in Salzburg; although this did not suit him very well, the next few years were a time of prolific composition. In 1781, he moved permanently to Vienna where he stayed for remainder of his life. -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home . -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800 521-0600 Order Number 9401189 The songs of Franz Liszt Baron, Michael David, D.M.A. The Ohio State University, 1993 UMI 300 N. -
A STYLISTIC ANALYSIS THESIS Presented to the Graduate Council
,)70 THE LIEDER OF BEETHOVEN: A STYLISTIC ANALYSIS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Shen-An Lin, B.A. Denton, Texas August, 1987 Lin, Shen-An, The Lieder of Beethoven: A Stylistic Analysis. Master of Arts (Music), August, 1987, 50 pp., 11 illustrations, bibliography, 52 titles. Beethoven is generally acknowledged to be the most important composer of the 19th century. However, many critics and musicologists dismiss Beethoven's Lieder as being of less musical value and sophistication than his more instrumentally conceived late vocal writings. The true musical sophistication of Beethoven's Lieder can be discovered by a careful study of the harmonic structure and the relationship between the vocal and the piano part in Beethoven's Lieder. In discussing Beethoven's Lieder style based on analysis, a number of aspects shall be examined: (1) the harmonic idiom and key relationships; (2) the role of the piano; and (3) other stylistic features. TABLE OF CONTENTS Page LIST OF EXAMPLES.....0...0.................................. iv LIST OF FIGURES....... ..........0.0..0.... .o.o.0.0.. .... ... .. .0..o... v Chapter I. BEETHOVEN AS A LIEDER COMPOSER................. 1 II. STYLE FEATURES IN BEETHOVEN'S LIEDER........... 17 The Harmonic Idiom and Key Relation in Beethoven's Lieder The Role of Piano in Beethoven's Lieder III. CONCLUSION....--......-----.......................43 BIBLIOGRAPHY. .............................................47 iii -M LIST OF EXAMPLES Example Page 1. "Wonne der Wehmuth," Op. 83, measures 8-9................................28 2. Sechs Lieder von Gellert, No. 1, "Bitten," measures 10-16..............................32 3.