A Radio Program for the King of Instruments
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Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
40Th Season Schedule
Bach Vespers at Holy Trinity th 40 Anniversary Season 2007 / 2008 Sunday PRE-SEASON CONCERT “The Concert of 1789” Oct. 7 featuring Samuel Felsted’s Oratorio JONAH Juxtapositions in Lent 5:00 p.m. the first known American oratorio! In our Lenten concert Vespers, our featured artists will examine through $10 suggested donation. selected works a variety of juxtapositions: composers, styles, periods, forms and more! Each Vespers is preceded by a talk at 4:15 p.m. Sunday Reformation Sunday st Oct. 28 Bach Cantata 80 - Ein Feste Burg ist unser Gott Sunday Invocavit (1 Sunday in Lent) 5:00 p.m. Dieterich Buxtehude - Erhalt uns, Herr, BuxWV 27 Feb. 10 BACH: THE FRENCH CONNECTION Organ: Prelude and Fugue in D, BWV 532 5:00 p.m. Trio Sonatas by Rameau, Leclair, Couperin & Bach Dedication of the new positiv organ. Peter Kupfer-violin, Carlene Stober-gamba, Jan-Piet Knijff-harpsichord nd Sunday All Saints Sunday Sunday Reminiscere (2 Sunday in Lent) Nov. 4 Bach Cantata 106 - Gottes Zeit ist die allerbeste Zeit Feb. 17 SONNETS, SONGS AND PROVERBS 5:00 p.m. Johann Bach - Unser Leben ist ein Schatten 5:00 p.m. Settings of Blake and Donne by Britten Organ: Toccata in d, BWV 565 Jennifer Bates-soprano, Joe Damon Chappel-bass rd Sunday 23rd Sunday after Trinity (Pentecost 24) Sunday Oculi (3 Sunday in Lent) Nov. 11 Bach Cantata 55 - Ich armer Mensch, ich Sündenknecht Feb 24 JUXTAPOSING THE GREAT AND POSITIV 5:00 p.m. Johann Michael Bach - Herr, wenn ich nur dich habe 5:00 p.m. -
OCTOBER, 2012 Independent Presbyterian Church Birmingham
THE DIAPASON OCTOBER, 2012 Independent Presbyterian Church Birmingham, Alabama Cover feature on pages 26–28 THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 10, Whole No. 1235 OCTOBER, 2012 In the wind . and there are pointy-painful heat sinks Established in 1909 ISSN 0012-2378 John Bishop’s fascinating column (Au- (fi n-shaped radiators) across the back so An International Monthly Devoted to the Organ, gust 2012) on electricity and wind in they’re awful to handle. the Harpsichord, Carillon, and Church Music pipe organs misstates what rectifi ers and Yesterday, I installed a new rectifi er transformers do. A transformer takes an in an organ in Manhattan that was small AC voltage and changes it to another AC and light enough that I carried it in a voltage, e.g., 120 VAC to 12–16 VAC. A canvas “Bean Bag” on the subway along CONTENTS Editor & Publisher JEROME BUTERA [email protected] rectifi er then takes the stepped-down AC with my “city” tool kit. Obviously, there FEATURES 847/391-1045 voltage and rectifi es it to DC. It is that have been lots of changes in how “recti- DC which electrically powers the circuits fi ers” work, but whatever goes on inside, An Interview with Montserrat Torrent Associate Editor JOYCE ROBINSON of the organ. John has the functions of as long as they provide the power I need Queen of Iberian organ music [email protected] by Mark J. Merrill 19 transformers and rectifi ers reversed. to run an organ’s action I’m stuck with 847/391-1044 William Mitchell calling them “rectifi ers.” An American Organ Moves to Germany Contributing Editors LARRY PALMER Columbus, Ohio Mr. -
INHALT DES ZWEITEN BANDES Nr
INHALT DES ZWEITEN BANDES Nr. 121-200 r. ~ ~~ t t Nr, Texte..r~h.n.g .;,ummcnzanl Komponist Advent 121. Gelobet sei Israels Gott . 4 . johann Crüger 122. Hod!gelobet seist du jesu Christe Gom Sohn 2 . Ernst Pepping 123. Vom Olberge zeucht daher ·..... 4 . Joachim a Burck 124. Aus hartem Weh die Menschheit klagt 2-4. Ernst Pepping 125. Gott heilger Schöpfer aller Stern 3 Guillaume Dufay 126. Gelobet sei der König groß . 4 Michael Praetorius 127. Und unser lieben Frauen ... 3 . Ernst Pepping 128. Maria durch ein Dornwald ging 6 Heinrich Kaminski Weibnachren 129. In dulci iubilo ...... 8 Leonhard Schröter 130. Hört zu und seid getrost nun . 4 Leonhard Schröter 131. Christum wir sollen loben schon 4 . Ernst Pepping 132. Christe redemptor omnium . 4 Giov. P. da Palestrina Christe Erlöser aller Welt . 133. Hört zu ihr lieben Leute . 5 Michael Praetorius IH. Universi populi . 4 Michael Praetorius Fröhlich seid all Christenleut 135. In Bethlchem ein Kindelein . 4 Michael Praetorius 136. Ein Kind geborn zu Bethlehem 2~. Michael Practorius Puer natus in Bethlehem . 137. Uns ist ein Kind geboren . 6 . johann Stobäus 138. Aus des Vaters Herz ist gboren 4 . Kurt H essenberg ll9. Zu Bethlehem geboren . 3-4 . Ernst Pcpping Neujahr 140. jesu du zartes Kindelein . 5 Melchior Franck 141. Nun wollen wir das alte Jahr mit Lob und Dank vollenden 5 johann Staden Epiphanias 142. Nun liebe See! nun ist es Zeit . 6 johann Eccard 143. Gott Vater uns sein Sohn fürstellt 3 Adam Gumpelzhaimer Passion 1«. 0 du armer Judas . 6 . Arnold von Bruck 145. Da jesus an dem Kreuze stund . -
Der Komponist Als Prediger: Die Deutsche Evangelisch-Lutherische Motette Als Zeugnis Von Verkündigung Und Auslegung Vom Reformationszeitalter Bis in Die Gegenwart
DER KOMPONIST ALS PREDIGER: DIE DEUTSCHE EVANGELISCH-LUTHERISCHE MOTETTE ALS ZEUGNIS VON VERKÜNDIGUNG UND AUSLEGUNG VOM REFORMATIONSZEITALTER BIS IN DIE GEGENWART Dissertation zur Erlangung des Doktorgrades vorgelegt beim Fachbereich 2 Kommunikation/Ästhetik Fach Musik/Auditive Kommunikation Carl von Ossietzky Universität Oldenburg von Jan Henning Müller Salbeistraße 22 26129 Oldenburg Oldenburg (Oldb) Juli 2002 Tag der Einreichung: 31.Juli 2002 Tag der Disputation: 29.Januar 2003 Gutachter: Prof. Dr. Peter Schleuning, Prof. Dr. Wolfgang E. Müller Inhaltsverzeichnis 1 EINLEITUNG 4 1.1 Thematische Einführung und Abgrenzung 4 1.2 Zur Darstellung 5 1.3 Gattungsspezifische Annäherung in vier Schritten 7 1.3.1 „Gattung“ als Vorstellung, Begriff und Kategorie 7 1.3.2 Musikalische Gattungen 10 1.3.3 Die Motette als musikalische Gattung 13 1.3.4 Zur Spezifität der evangelisch -lutherischen Motette 17 1.4 Konsequenzen für die Analyse und Motettenkorpus 20 1.4.1 Zur Analyse 20 1.4.2 Motettenkorpus 24 2 VORAUSSETZUNGEN IM MITTELALTER UND IM HUMANISMUS 26 2.1 Rhetorik, Homiletik und Predigt 26 2.2 Zum vorreformatorischen Musikbegriff 31 2.3 Gattungsgeschichtlicher Abriss: die Motette bis etwa 1500 34 3 „SINGEN UND SAGEN“: DIE GENESE DER GATTUNG 41 3.1 Aussermusikalische Faktoren 41 3.1.1 Theologische Voraussetzungen 41 3.1.2 Zum Musikbegriff der Reformatoren (Luther, Walter, Melanchthon) 55 3.1.3 Erste deutschsprachige Predigtmotetten 67 3.2 Innermusikalische Faktoren 82 3.2.1 Beispielfundus 82 3.2.2 Textdisposition 84 3.2.3 Modale Affektenlehre 91 3.2.4 Klausellehre und Klauselhierarchie 94 3.2.5 Musikalische Deklamation 110 3.2.6 Musikalisch-rhetorische Figuren 117 3.2.7 Analyseschema 127 4 DIE EV.-LUTH. -
Große Prüfung Für Das Kirchenmusikalische Nebenamt
Große Prüfung für das kirchenmusikalische Nebenamt Leitfaden Kirchenmusikgeschichte KMD Klaus Bormann 2017 Formen 1. Vokale Formen Das Chorlied • Kontrapunktisch gearbeitete Liedsätze • Cantus firmus liegt im Tenor oder in der Oberstimme, meist mit längeren Notenwerten • Vokalstimmen werden meist von Instrumenten begleitet (Basso continuo) • Alternatimpraxis Johann Walter (1496-1570): „Geistlich Gesangbüchlein Wittenberg“ (1524) 38 deutsche polyphone Liedsätze, 5 lateinische Motetten Das Kantionallied • Kantionallied stammt aus dem Gottesdienst der reformierten Kirche (schlichter akkordischer Satz für den Liedpsalter) • Vereinfachung des Chorliedes • Cantus firmus in der Oberstimme • homophone, vierstimmige Bearbeitung Michael Praetorius (1571-1621): „Es ist ein Ros entsprungen“ Die Liedmotette • Weiterentwicklung des Chorliedes zur Liedmotette (Vorbild: Orlando di Lasso) • Kunstvoll verarbeiteter c. f. • Kontrapunktische Verarbeitung des thematischen Materials der Melodie • Verstärkte Wortbezogenheit (Darstellung von Affecten) Michael Praetorius (1571-1621): „Musiae Sioniae“, Acht- bis zwölfstimmige Choralmotetten Hans Leo Haßler (1564-1612): „Psalmen und christliche Gesänge mit vier Stimmen auf die Melodie fugenweise komponiert“ Die Spruchmotette • Ursprung: gesungenes Bibelwort im Gottesdienst • Vermischung aus Liedmotette, Chorlied und Motette • Vertonung eines Bibelspruches in motettischer Form Melchior Vulpius (um 1570-1615): Deutsche Sonntägliche Evangeliensprüche Melchior Franck (um 1580-1639): Deutsche Sonntägliche Evangeliensprüche -
Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol
Performance Practice Review Volume 5 Article 8 Number 1 Spring Music for the Cimbalo Cromatico and the Split- Keyed Instruments in Seventeenth-Century Italy Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1992) "Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol. 5: No. 1, Article 8. DOI: 10.5642/perfpr.199205.01.08 Available at: http://scholarship.claremont.edu/ppr/vol5/iss1/8 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]. Early Baroque Keyboard Instruments Music for the Cimbalo Cromatico and Other Split- Keyed Instruments in Seventeenth-Century Italy* Christopher Stembridge The Concept of the Cimbalo Cromatico Although no example of such an instrument is known to have survived intact, the cimbalo cromatico was a clearly defined type of harpsichord that apparently enjoyed a certain vogue in Italy during the late sixteenth and early seventeenth centuries.1 The earliest use of the term is found in the titles of two toccatas per il cimbalo cromatico included by Ascanio Mayone in his Secondo Libro di Diversi Capricci per Sonare published in Naples in 1609.2 Subsequently the term was used in publications by This is the first of three related articles. The second and third, to be published in subsequent issues of Performance Practice Review, will deal with the instruments themselves. -
Society for Seventeenth-Century Music
The Nineteenth Annual Conference of the Society for Seventeenth-Century Music School of Music, Ferguson Hall University of Minnesota, Minneapolis, Minnesota April 7–10, 2011 CONFERENCE SCHEDULE THURSDAY, APRIL 7 12:00–5:00 p.m. Registration lobby, Holiday Inn hotel 1:15–2:30 p.m. Meeting of the JSCM Editorial Board Ferguson Hall, room 280 2:45–4:45 p.m. Meeting of the SSCM Governing Board Ferguson Hall, room 280 5:45 p.m. Busses leave the Holiday Inn for the evening’s events in Saint Paul 6:30 p.m. Hors d’oeuvre reception with cash bar Schubert Club Museum, 302 Landmark Center 75 W 5th Street, Saint Paul, MN 8:00 p.m. Concert—Mahan Esfahani, harpsichord Courtroom 317, Landmark Center 75 W 5th Street, Saint Paul, MN 1 FRIDAY, APRIL 8 7:30–8:50 a.m. Meeting of the WLSCM Editorial Board 2:00–5:00 p.m. PAPER SESSION II Ferguson Hall, room 205 Ferguson Hall, room 225 8:00–9:00 a.m. Registration SHORT SESSION A: SACRED MUSIC IN THE Ferguson Hall, room 280 COLONIAL NEW WORLD 8:30–9:00 a.m. Pastries and Coffee Craig Russell (California Polytechnic State Ferguson Hall, room 280 University), chair 9:00–12:00 noon PAPER SESSION I Drew Edward Davies (Northwestern University) Ferguson Hall, Lloyd Ultan Recital Hall Music for the Virgin of Guadalupe in Late Seventeenth- Century Mexico City SUCCESS AND FAILURE IN PATRONAGE Margaret Murata (University of California, Irvine), chair Tim Watkins (Texas Christian University) A New Source for Colonial Guatemalan Music: Princeton Bryan White (University of Leeds, UK) Garret-Gates MS. -
Key of F Minor, German Designation)
F dur C F Dur C EFF DOOR C (key of F major, German designation) F moll C f Moll C EFF MAWL C (key of f minor, German designation) Fa bemol majeur C fa bémol majeur C fah bay-mawl mah-zhör C (key of F flat major, French designation) Fa bemol mayor C FAH bay-MAWL mah-YAWR C (key of F flat major, Spanish designation) Fa bemol menor C FAH bay-MAWL may-NAWR C (key of f flat minor, Spanish designation) Fa bemol mineur C fa bémol mineur C fah bay-mawl mee-nör C (key of f flat minor, French designation) Fa bemolle maggiore C fa bemolle maggiore C FAH bay-MOHL-lay mahd-JO-ray C (key of F flat major, Italian designation) Fa bemolle minore C fa bemolle minore C FAH bay-MOHL-lay mee-NO-ray C (key of f flat minor, Italian designation) Fa diese majeur C fa dièse majeur C fah deeezz mah-zhör C (key of F sharp major, French designation) Fa diese mineur C fa dièse mineur C fah deeezz mee-nör C (key of f sharp minor, French designation) Fa diesis maggiore C fa diesis maggiore C FAH deeAY-zeess mahd-JO-ray C (key of F sharp major, Italian designation) Fa diesis minore C fa diesis minore C FAH deeAY-zeess mee-NO-ray C (key of f sharp minor, Italian designation) Fa maggiore C fa maggiore C FAH mahd-JO-ray C (key of F major, Italian designation) Fa majeur C fa majeur C fah mah-zhör C (key of F major, French designation) Fa mayor C FAH mah-YAWR C (key of F major, Spanish designation) Fa menor C FAH may-NAWR C (key of f minor, Spanish designation) Fa mineur C fa mineur C fah mee-nör C (key of f minor, French designation) Fa minore C fa minore C FAH mee-NO-ray -
Program Notesby Victor Gebauer
Program Notes by Victor Gebauer Der 136. Psalm Heinrich Schütz (1585 – 1672) Heinrich Schütz’s world of music expanded during his first trip to Venice (1609-1613) to study with the renowned Giovanni Gabrieli. There he probably frequented the Fondaco dei Tedeschi, a center for German merchants and musicians. The famed Saint Mark’s Cathedral boasted huge spaces that had generated a polychoral style, reflected here in a double chorus and double capella of ensembles plus continuous bass. The first capella declaims the psalm’s refrain (“For God’s mercy endures forever”) while a chorus announces each psalm verse. Schütz later expands the refrain’s sonority in response to the verses, sung in varied registers and textures by a chorus. The final, extensive verse (“Give thanks to the God of heaven . .”) summarizes the entire psalm, splendidly tossing phrases among all ensembles of voices and instruments. Such music both fills the echoing spaces of a great cathedral and envelopes the worshiper with the praises of God. Gelobet seist du, Jesu Christ Johann Hermann Schein (1586 – 1630) Already in 1690, W. K. Printz’s Historische Beschreibung (Historic Portrayal) identified three great S’s in German music (Samuel Scheidt, Heinrich Schütz, and Johann Hermann Schein). All three were noted for combining styles of the 16th century with expressive new conventions of 17th century Baroque music. Schein’s hymn setting is a clear example. The first stanza dates back to the 14th century, additional stanzas were added by Martin Luther, and the melody also emerged during the Reformation. The “Kyrieleis” marks this as a religious hymn of popular origin. -
Bach's Chorals Part I
BACH'S CHORALS PART I THE HYMNS AND HYMN MELODIES OF THE "PASSIONS" AND MOTETTS gfl. xvi + 74. Price 6s, 6d. net. "An invaluable work of reference.'_--Guardian. "This useful work of reference. '_--,gu_cal Times. "The result of an extensive amount of research and erudition."--Slandard. "A careful piece of archaeological enquiry."--Scolsman. "A scholarly piece of work."--Oxford MaKazin¢. "An invaluable volume of reference...wdl quickly become a standard work."--3/Zu_c StudenL "A perfect storehouse of information."--Musical ATe_s. PART II THE HYMNS AND HYMN MELODIES OF TIIE CANTATAS AND MOTETTS Pp. xiv+ 615. Price 24s. net. "A monumental and exhaustive study..,a notable contri- bution to musical literature...of permanent value, and hardly likely to be superseded.'--Musical Times. "A perfect encyclopaedia of information on its subject." Yorkshire Post. "Its information is extraordinarily full and comprehen- sive."--Musical News. "This valuable work of reference."--Mthenaeum. "An honour to British scholarship and research." Musical Opinion. "The book is in detail one of which both author and pub- hsher may m every way be proud."-- The Times. "The book must be placed in our bookcases next to Grove."--Music Student. "A work which no student of music on the historical side should be without."--New Statesman. "A real triumph of laboriousness, quite indispensable to the serious student of the subject."--Oxford Magazine. "An admirable and scholarly addition to musical litera- ture. --Cambridge Review. BACH'S CHORALS CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, MANAGZR LONDON : FETTER LANE, E.C.4 NEW YORK THE MACMILLAN CO. CALCUTTA MACMILLAN AND CO.,L'rD. -
Download Curriculum Vitae
Jon Hurty 1312 33rd Avenue • Moline • Illinois • 61265 • 309.736.9147 Employment and Professional Experience Academic Professor, Director of Choral Activities, Co-Chair of Music Department Augustana College, Rock Island, Illinois 1996-present Current teaching, research and administrative activities include: • Conduct the Augustana Choir, Augustana Chamber Singers • Teach Choral Conducting and Literature • Administer choral program consisting of eight choirs • Research areas include Renaissance partbooks, and choral improvisation • Administer various departmental and choral area activities including budget, facilities and faculty issues Associate Professor, Director of Choral Activities Concordia University, Irvine, California 1990-1996 Graduate Teaching Assistant, Director of University Chorus University of Illinois, Urbana, Illinois 1988-89 Graduate Assistant, Northridge Singers and Chamber Singers California State University Northridge 1983-85 Community Conductor and Music Director, Handel Oratorio Society Augustana College, Rock Island, Illinois 1996-present In this position I conduct major choral/orchestral works each year. In addition to conducting performances, I also prepare choruses for various conductors and ensembles. See attached list of major works. Music Director and Conductor of Quad City Choral Arts Rock Island, Illinois 1997-present. This community-based ensemble consists of 50 singers, mostly music teachers and recent music graduates. The group has an annual concert season and collaborates with the Handel Oratorio Society and Quad City Symphony. Artistic Director and Conductor of A Christmas Homecoming Filmed in the Quad Cities, October and November 2001. Video production including ensembles from Augustana and the Quad City Community. Was aired on National PBS to over 180 cities throughout the United States during the 2002 and 2003 Christmas seasons.