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The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance. Malcolm Eugene Beauchamp Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Beauchamp, Malcolm Eugene, "The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance." (1980). LSU Historical Dissertations and Theses. 3474. https://digitalcommons.lsu.edu/gradschool_disstheses/3474 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
Aesthetic Functionalism
Contemporary Aesthetics (Journal Archive) Volume 3 Volume 3 (2005) Article 8 2005 Aesthetic Functionalism Sven Ove Hansson Royal Institute of Technology, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics Part of the Aesthetics Commons Recommended Citation Hansson, Sven Ove (2005) "Aesthetic Functionalism," Contemporary Aesthetics (Journal Archive): Vol. 3 , Article 8. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol3/iss1/8 This Article is brought to you for free and open access by the Liberal Arts Division at DigitalCommons@RISD. It has been accepted for inclusion in Contemporary Aesthetics (Journal Archive) by an authorized editor of DigitalCommons@RISD. For more information, please contact [email protected]. Aesthetic Functionalism Sven Ove Hansson About CA Abstract Journal According to the strongest version of aesthetic functionalism, aesthetic value is completely determined by and therefore Contact CA reducible to practical function. According to the opposite view, function and aesthetic value are completely independent of Links each other. Both these views are shown to be untenable, and instead aesthetic dualism is defended. By this, I mean that Submissions some aesthetic judgments that can legitimately be made about an object refer to it under descriptions of its practical Search Journal function, whereas others refer to it, for instance, under descriptions of its physical appearance. Since valuations of the former type are in most cases positively correlated with satisfaction of functional requirements, this amounts to a defense of a radically weakened version of aesthetic functionalism. Editorial Board Key Words Permission to Reprint aesthetic functionalism, aesthetic value, aesthetic dualism, aesthetic judgments Privacy Site Map Publisher 1. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
VB3 / A/ O,(S0-02
/VB3 / A/ O,(s0-02 A SURVEY OF THE RESEARCH LITERATURE ON THE FEMALE HIGH VOICE THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Roberta M. Stephen, B. Mus., A. Mus., A.R.C.T. Denton, Texas December, 1988 Stephen, Roberta M., Survey of the Research Literature on the Female High Voice. Master of Arts (Music), December, 1988, 161 pp., 11 tables, 13 illustrations, 1 appendix, bibliography, partially annotated, 136 titles. The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice. PREFACE The purpose of this thesis is to collect research about the female high voice and to assemble the pedagogy. The science and the pedagogy will be compared to show how the two subjects conform, where there is controversy, and where more research is needed. Information about the female high voice is scattered in various periodicals and books; it is not easily found. -
Forthcoming Dates & Ticket Information
n e Issue 46, Winter 2014 NCO w s www.newchamberopera.co.uk FORTHCOMING DATES & TICKET INFORMATION Calendar Listing Those events marked with an asterisk * are University events Recitals TICKET DETAILS January 24 - Nick Hampson, tenor 31 - James Carter, baritone Lunchtime Vocal February Recitals 7 - Dominic Foord, bass 1.15pm Francesco Cavalli: La Calisto New College Antechapel Musical Director: Edmund Whitehead £2/£1 concessions on the door 7 & 8 February 2014 New College Chapel, 8.00pm Cavalli La Calisto Tickets for this event can be obtained from: http://www.ticketsource.co.uk/event/47845 7 & 8 February 2014 8.00pm February New College Chapel 14 - Rosie Miller, soprano 21 - Rebecca Robert, soprano Tickets 28 - Andrew Hayman, tenor £10 / £5 concessions March on the door and from 7 - James Newby, tenor Ticket Source, see panel to the left 14- Guy Elliott, tenor Summer Opera: Haydn L’Infedeltà Delusa Summer Opera 9 (Preview), 12, 13, 15, 16, 18, 19, 20 July 2014 Wednesday 9 (Preview) The Warden’s Garden, New College Sunday 13 & Tuesday 14 New Chamber Opera Please download forms from New Chamber Opera - New Chamber Opera Ensemble http://www.newchamberopera.co.uk The Band of Instruments - Phoenix - Cutting Edge Singing Patron James Bowman Saturday 12 & Friday 18 Director of Productions Michael Burden New College Development Office Director, the Summer Opera Steven Devine (01865) 279 337 Director, The Band of Instruments Roger Hamilton . Director, Opera Studio Edmund Whitehead Tuesday 15 Repetiteurs Edmund Whitehead, Jacob Swindells . Company Secretary Clare Atkinson OXPIP (01865) 778 034 Comptroller Graham Midgley . Wardrobe Diana Lintott, Fiona Hodges Wednesday 16 Recitals Wilfrid Jones; Brian McAlea . -
Notes for Composers 2021.Pdf
On writing for the voice... Firstly, remember every voice is different — I would counsel against making any assumptions about a voice, or a voice type, since they really do vary quite a bit in range, timbre, size (volume), dexterity and flexibility. Second, use your voice — you have one! Even if you can't do everything a trained singer can, you can probably get some idea of what an average breath length is or what causes fatigue. Work out what voice type you think you are and use your range to test what you write. • Range ALWAYS check the range of your singer(s). Ask about their voice. They can't summon up notes their body doesn't have. • Tessitura Tessitura means the most comfortable/effective area within the full range, i.e. not the extremities. It’s very important to understand that where a note lies in the voice is not neutral. A voice's range is not quite the same as an instrument's: there is more physicality in the voice, so that one can hear the thrill of the 'stretch' of the high notes or of the 'looseness' of the low notes. Much of the drama of the higher register is because, as a listener, we sense this physical stretch that is at play in the vocal apparatus. As a result, the high notes sound higher and the low notes sound lower, meaning that the 'extremities' needn't be so extreme. A helpful image may be to think of a singer as like a dancer: the voice needs stretch and release, motion and flow. -
Information to Users
INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl 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 phnt, 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 UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed 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 comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
The Other Marxism: Georg Knepler and the Anthropology of Music
The Other Marxism: Georg Knepler and the Anthropology of Music Golan Gur All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 01/10/2015 Accepted: 02/11/2015 Published: 07/05/2016 Last updated: 07/05/2016 How to cite: Golan Gur, “The Other Marxism: Georg Knepler and the Anthropology of Music,” Musicologica Austriaca: Journal for Austrian Music Studies (May 07, 2016) Tags: 20th century; Anthropology; Knepler, Georg; Marxism The essay is part of a larger research project dealing with music and aesthetic culture in the German Democratic Republic. I am grateful to the Royal Society and the British Academy for their generous support of the project in years 2014-2015 in my capacity as a Newton International Fellow at the University of Cambridge. I would like to thank Nicholas Cook for his support and mentoring of the project. I am also grateful to Joanna Bullivant, Ian Cross, Andreas Dorschel, Katherine Hambridge, Marion Kant, Lars Klingberg, and Meli Solomon for their valuable remarks and suggestions on earlier drafts of this essay. I also would like to express my gratitude to John Knepler for reading and commenting on the essay and for providing me with photos of his father. The essay is dedicated to the memory of Christian Kaden who first introduced me to the work and ideas of Georg Knepler. Versions of this essay were delivered as conference papers at the 4th Annual Conference of the Royal Musical Association Music & Philosophy Study Group, King’s College London, and at the Current Musicology 50th Anniversary Conference at Columbia University, New York. -
Tonalitysince 1950
Tonality Since 1950 Tonality Since 1950 documents the debate surrounding one of the most basic technical and artistic resources of music in the later 20th century. The obvious flourishing of tonality – a return to key, pitch center, and consonance – in recent decades has undermi- ned received views of its disintegration or collapse ca. 1910, in- tensifying the discussion of music’s acoustical-theoretical bases, and of its broader cultural and metaphysical meanings. While historians of 20th-century music have often marginalized tonal practices, the present volume offers a new emphasis on emergent historical continuities. Musicians as diverse as Hindemith, the Beatles, Reich, and Saariaho have approached tonality from many different angles: as a figure of nostalgic longing, or as a universal law; as a quoted artefact of music’s sedimented stylistic past, or as a timeless harmonic resource. Essays by 15 leading contributors cover a wide repertoire of concert and pop/rock music composed Tonal in Europe and America over the past half-century. Tonality Since 1950 Since 1950 ISBN 978-3-515-11582-7 www.steiner-verlag.de Musikwissenschaft Franz Steiner Verlag Franz Steiner Verlag Edited by Felix Wörner, TonaWörner / Scheideler/ Rupprecht liUllricht Scheideler and Philipy Rupprecht Tonality Since 1950 Edited by Felix Wörner, Ullrich Scheideler and Philip Rupprecht Tonality Since 1950 Edited by Felix Wörner, Ullrich Scheideler and Philip Rupprecht Franz Steiner Verlag Mit freundlicher Unterstützung der Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
The Concerto for Bassoon by Andrzej Panufnik
THE CONCERTO FOR BASSOON BY ANDRZEJ PANUFNIK: RELIGION, LIBERATION AND POSTMODERNISM Janelle Ott Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Kathleen Reynolds, Major Professor Eugene Cho, Committee Member John Scott, Committee Member James Scott, Dean of the School of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Ott, Janelle. The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism. Doctor of Musical Arts (Performance), May 2016, 128 pp., 2 charts, 23 musical examples, references, 88 titles. The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik’s understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popiełuszko in 1984. Panufnik’s relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik’s compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. -
LETRAS DE HOJE Studies and Debates in Linguistics, Literature and Portuguese Language Letras De Hoje Porto Alegre, V
OPEN ACCESS LETRAS DE HOJE Studies and debates in linguistics, literature and Portuguese language Letras de hoje Porto Alegre, v. 55, n. 1, p. 51-58, jan.-mar. 2020 e-ISSN: 1984-7726 | ISSN-L: 0101-3335 http://dx.doi.org/10.15448/1984-7726.2020.1.33796 A Midsummer Night’s Dream: Reflections on Benjamin Britten’s Chamber Opera Sonho de uma noite de verão: reflexões sobre a ópera de câmara de Benjamin Britten El sueño de una noche de verano: reflexiones sobre la ópera de cámara de Benjamin Britten Anna Stegh Camati1 Abstract: Opera performances, located at the intersection of literature, theater, orcid.org/0000-0003-2460-1006 music and the visual arts, tend to fuse specificities of several art forms. This essay [email protected] reflects on the libretto and score of the chamber operaA Midsummer Night’s Dream (1960), by Benjamin Britten (1913-1976), based on Shakespeare’s homonymous text (1595-1596), and analyses the 1981 operatic adaptation at Glyndebourne, directed by the renowned theatre director and régisseur Peter Hall (1930-2017). The intermedial dialogues among Shakespeare, Britten and Hall will be inves- Recebido em: 01 abr. 2019. tigated in the light of theoretical perspectives by Linda and Michael Hutcheon, Aprovado em: 04 dez; 2019. Claus Clüver, Jorge Coli, Freda Chapple and others. Publicado em: 14 abr. 2020. Keywords: Shakespeare; Benjamin Britten; Peter Hall, Adaptation; Intermediality. Resumo: Situada na interface da literatura, teatro, música e artes visuais, a per- formance operística é caracterizada pela fusão de especificidades de diversas formas de arte. Este ensaio reflete sobre o libreto e a partitura deSonho de uma noite de verão (1960), ópera de câmara de Benjamin Britten (1913-1976), composta a partir do texto homônimo (1595-1596) de Shakespeare, e analisa a adaptação operística de 1981 apresentada em Glyndebourne, dirigida pelo renomado diretor de teatro e régisseur Peter Hall (1930-2017).