Reflections on My Journey Using Visual Media in a Voice Recital
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THE POETIC MUSE: GOETHE, SCHUBERT and the ART of SONG Lorraine Byrne Bodley Anyone Who Ventures Into the Vast Regions of The
THE POETIC MUSE: GOETHE, SCHUBERT AND THE ART OF SONG Lorraine Byrne Bodley Anyone who ventures into the vast regions of the 19th-century Lied meets a powerful presence almost immediately. Time and again the text is by Goethe, whose lyric imagination left an indomitable imprint on European music history. Even a cursory glance at Friedlaender’s Das deutsche Lied bears testimony to multiple settings of Goethe’s poems and the range and variety of this abundant repertoire is immediately striking. Ernst Challier’s Grosser Lieder-Katalog gives further evidence of the musicality of Goethe’s language and its location of meaning at the cradle of the Lied. Schubert’s first masterpiece, ‘Gretchen am Spinnrade’, was a setting of a dramatic scene from Goethe’s Faust. The earliest songs of Reichardt, Spohr, Loewe, Brahms and Wagner were to texts by Goethe, which raises the question as to the reasons for the poet’s influence. Yes, Goethe was a supreme lyric poet. The binding force of form and meaning, or rhythm and sense, that characterizes Goethe’s lyric poetry offered composers a wealth of material with which to cut their compositional cloth. Yes, Goethe was an object of admiration, even veneration, throughout the 19th century and the sheer quantity and variety of music his poetry has inspired signals the huge fascination exerted by his writing and his personality. Yet the steadfastness of his occupancy of the Lied goes beyond these explanations. Deeper currents must explain why Goethe’s poetry goes hand in glove in our musical heritage. From the time he burst onto the literary scene with the publication of Die Leiden des jungen Werther in 1774 until long after his death in 1832, Goethe was a catalyst for many composers who wanted to challenge what song could be. -
Floor Debate February 26, 2019
Transcript Prepared By the Clerk of the Legislature Transcriber's Office Floor Debate February 26, 2019 [] SCHEER: Morning, ladies and gentlemen. Welcome to the George W. Norris Legislative Chamber for the thirty-first day of the One Hundred Sixth Legislature, First Session. Our chaplain for today is Sen-- or Pastor Paul Moessner from Immanuel Lutheran Church in Bellevue, Senator Crawford's district. Would you please rise. PASTOR MOESSNER: (Prayer offered.) SCHEER: Thank you, Pastor Moessner. I call to order the thirty-first day, One Hundred Sixth Legislature, First Session. Senators, please record your presence. Roll call. Please record, Mr. Clerk. ASSISTANT CLERK: I have a quorum present, Mr. President. SCHEER: Thank you, Mr. Clerk. Are there any corrections for the Journal? ASSISTANT CLERK: No corrections. SCHEER: Thank you. And are there any messages, reports, or announcements? ASSISTANT CLERK: I do, Mr. President. The Attorney General, an Opinion-- has an Opinion addressed to Senator Kate Bolz (re LB420). Notice of committee hearing for the Agriculture Committee. The Committee of Judiciary reports LB300, LB93, LB206, LB230, LB322, LB390, and LB579 to General File, some with committee amendments. Your Committee on Enrollment and Review reports LB224 and LB16 to Select File. That's all I have at this time, Mr. President. SCHEER: Thank you, Mr. Clerk. We'll proceed on to the first item on the agenda. ASSISTANT CLERK: Mr. President, LB399, introduced by Senator Slama. (Read title.) Bill was read for the first time on January 17 of this year. It was referred to the Education Committee. That committee reported the bill to General File with committee amendments. -
BTS' A.R.M.Y. Web 2.0 Composing: Fangirl Translinguality As Parasocial, Motile Literacy Praxis Judy-Gail Baker a Dissertation
BTS’ A.R.M.Y. Web 2.0 Composing: Fangirl Translinguality As Parasocial, Motile Literacy Praxis Judy-Gail Baker A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Anis Bawarshi, Chair Nancy Bou Ayash Juan C. Guerra Program Authorized to Offer Degree: English ©Copyright 2019 Judy-Gail Baker University of Washington Abstract BTS’ A.R.M.Y. Web 2.0 Composing: Fangirl Translinguality As Parasocial, Motile Literacy Praxis Judy-Gail Baker Chair of the Supervisory Committee: Anis Bawarshi English As a transcultural K-Pop fandom, 아미 [A.R.M.Y.] perform out-of-school, Web 2.0 English[es] composing to cooperatively translate, exchange and broker content for parasocially relating to/with members of the supergroup 방탄소년단 [BTS] and to/with each other. Using critical linguistic ethnography, this study traces how 아미 microbloggers’ digital conversations embody Jenkins’ principles of participatory fandom and Wenger’s characteristics of communities of learning practice. By creating Wei’s multilingual translanguaging spaces, 아미 assemble interest-based collectives Pérez González calls translation adhocracies, who collaboratively access resources, produce content and distribute fan compositions within and beyond fandom members. In-school K-12 and secondary learning writing Composition and Literacy Studies’ theory, research and pedagogy imagine learners as underdeveloped novices undergoing socialization to existing “native” discourses and genres and acquiring through “expert” instruction competencies for formal academic and professional “lived” composing. Critical discourse analysis of 아미 texts documents diverse learners’ initiating, mediating, translating and remixing transmodal, plurilingual compositions with agency, scope and sophistication that challenge the fields’ structural assumptions and deficit framing of students. -
Industrialism, Androids, and the Virtuoso Instrumentalist
UNIVERSITY OF CALIFORNIA Los Angeles Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Leila Mintaha Nassar-Fredell 2013 © Copyright by Leila Mintaha Nassar-Fredell 2013 ABSTRACT OF THE DISSERTATION Performing the Mechanical: Industrialism, Androids, and the Virtuoso Instrumentalist by Leila Nassar-Fredell Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert S. Winter, Chair Transactions between musical androids and actual virtuosos occupied a prominent place in the music of the eighteenth and nineteenth centuries. Instrumentalists and composers of instrumental music appropriated the craze for clockwork soloists, placing music in a position of increased social power in a society undergoing rapid technological transformation. The history of musical automata stretches back to antiquity. Androids and automata, vested by audiences with spiritual and magical qualities, populated the churches of the broader populations and the Renaissance grottos of the aristocracy. As ii the Industrial Revolution began, automata increasingly resembled the machines changing the structure of labor; consequently, androids lost their enchanted status. Contemporary writers problematized these humanoid machines while at the same time popularizing their role as representatives of the uncanny at the boundaries of human identity. Both instrumental performers and androids explored the liminal area between human and machine. As androids lost their magic, musical virtuosos assumed the qualities of spectacle and spirituality long embodied by their machine counterparts. In this process virtuosi explored the liminal space of human machines: a human playing a musical instrument (a machine) weds the body to a machine, creating a half-human, half-fabricated voice. -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Goethe's Faust Essay Prize for Sixth-Formers Further Resources
A German Classic: Goethe’s Faust Essay Prize for Sixth-Formers Further Resources Urfaust and Faust, Part II Johann Wolfgang von Goethe: Urfaust (1775) Johann Wolfgang von Goethe: Faust. Der Tragödie zweiter Teil (1832) Faust before Goethe Johann Spies: Historia von D. Johann Fausten (1587) Christopher Marlowe: Doctor Faustus (1592) Faust after Goethe Thomas Mann: Doktor Faustus (1947) Faust as film Faust, dir. by F.W. Murnau, with Gösta Ekman, Emil Jannings and Camilla Horn(silent film, 1926) Faust, dir. by Alexander Sokurov, with Johannes Zeiler, Anton Adasinsky and Isolda Dychauk (Russian film, 2011) Faust and music Franz Schubert: Gretchen am Spinnrade (Lied, 1814) Hear Kiri Te Kanawa sing Gretchen’s love song ‘Meine Ruh ist hin’ (‘My peace has gone’) (https://www.youtube.com/watch?v=MY0eeotSDi8). You may also wish to have a look at – and listen to – this course on Schubert’s settings of Goethe’s poems: http://www.open.edu/openlearn/history-the-arts/history/history-art/schuberts-lieder- settings-goethes-poems/content-section-0 Hector Berlioz, La damnation de Faust (opera, 1846) – see the production by Monty Python’s Terry Gilliam (http://www.bbc.co.uk/programmes/b010xwhh) Charles Gounod: Faust (opera, 1859) Ferruccio Busoni: Doktor Faust (opera, 1924) Faust to go In case you’re in need of some light inspiration, here is a summary of Faust I. Don’t worry if you can’t even begin to keep up with Michael Sommer’s German – he speaks extraordinarily fast and uses slang and rather specialised allusions. But you should be able to work out -
Schubert Lieder
CHRISTIAN ELSNER SCHUBERT LIEDER ORCHESTRATED BY MAX REGER & ANTON WEBERN Rundfunk-Sinfonieorchester Berlin Marek Janowski FRANZ SCHUBERT (1797–1828) 6 Prometheus D 674 5. 09 Poem by Johann Wolfgang von Goethe Lieder Orchestrated by Max Reger Orchestrated by Max Reger and Anton Webern 7 Nacht und Träume (Heil’ge Nacht, du sinkest nieder) D 827 2. 38 1 An die Musik (Du holde Kunst) D 547 2. 07 Poem by Matthäus von Collin Poem by Franz von Schober Orchestrated by Max Reger Orchestrated by Max Reger Gesänge des Harfners D 478 2 Erlkönig D 328 3. 49 Lyrics from “Wilhelm Meisters Lehrjahre” by Johann Wolfgang Poem by Johann Wolfgang von Goethe von Goethe Orchestrated by Max Reger Orchestrated by Max Reger 8 No. 1: Wer sich der Einsamkeit ergibt 3. 52 3 Du bist die Ruh’ D 776 3. 09 9 No. 2: Wer nie sein Brot mit Tränen aß 4. 11 Poem by Friedrich Rückert 10 No. 3: An die Türen will ich schleichen 2. 06 Orchestrated by Anton Webern 11 Gruppe aus dem Tartarus D 583 3. 01 4 Greisengesang (Der Frost hat mir bereifet) D 778 6. 02 Poem by Friedrich Schiller Poem by Friedrich Rückert Orchestrated by Max Reger Orchestrated by Max Reger 12 Tränenregen (from “Die schöne Müllerin”) D 795 No. 10 5. 35 5 An den Mond D 296 3. 54 Poem by Wilhelm Müller Poem by Johann Wolfgang von Goethe Orchestrated by Anton Webern Orchestrated by Max Reger 13 Der Wegweiser (from “Die Winterreise”) D 911 No. 20 4. 06 Poem by Wilhelm Müller Orchestrated by Anton Webern 14 Memnon (Den Tag hindurch nur einmal mag ich sprechen) D 541 3. -
Faust, Part I Ebook Free Download
FAUST, PART I PDF, EPUB, EBOOK Goethe | 240 pages | 28 Aug 2015 | Penguin Books Ltd | 9780140449013 | English | London, United Kingdom Faust, Part I PDF Book But forever green is the tree of life. Get Faust. Reed puts it in his biography Goethe of Goethe and Schiller and is considered the culmination of German literature. Hopkins, G. The close of the 18th century in Germany was a time very much like the Renaissance. Refresh and try again. Homunculus, Mephistopheles, and Faust went to Greece, where Mephistopheles borrowed from the fantastic images of classical mythology one of their grotesque forms. External Websites. If there be spirits in the air That hold their sway between the earth and sky, Descend out of the golden vapors there And sweep me into iridescent life. After a painful struggle with himself, Faustus is carried off by the devil at the end of the play. In what ways does Goethe's depiction of Heaven seem unorthodox? Relevant discussion may be found on the talk page. He drew on an immense variety of cultural material—theological, mythological, philosophical, political, economic, scientific, aesthetic , musical, literary—for the more realistic Part I no less than for the more symbolic Part II. Previous Poem Summary. Mephistopheles brings Marthe the news that her long absent husband has died. The history of the legend's development and its expansion into broader moral and philosophical spheres is also an intellectual history of mankind. A remedy. Gretchen and Lieschen's discussion of an unmarried mother, in the scene at the Well, confirms the reader's suspicion of Gretchen's pregnancy. -
The Vocal Works of Charles Lloyd, Jr.: a Performer's Guide to Selected Dramatic Works, Art Songs, and Spiritual Art Songs
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 The vocal works of Charles Lloyd, Jr.: a performer's guide to selected dramatic works, art songs, and spiritual art songs Charis Kelly Hudson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Hudson, Charis Kelly, "The ocalv works of Charles Lloyd, Jr.: a performer's guide to selected dramatic works, art songs, and spiritual art songs" (2011). LSU Doctoral Dissertations. 3469. https://digitalcommons.lsu.edu/gradschool_dissertations/3469 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE VOCAL WORKS OF CHARLES LLOYD, JR.: A PERFORMER‟S GUIDE TO SELECTED DRAMATIC WORKS, ART SONGS, AND SPIRITUAL ART SONGS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts In The School of Music By Charis Kelly Hudson B.M., University of Tennessee at Martin M.M., Louisiana State University December, 2011 Acknowledgements It is with great pleasure that I show my gratitude to the many who were involved in the process of my composing this document. First, I would like to thank God for the opportunity to fulfill the purpose He has for me. -
Functions of Metrical Dissonance in Schubert's Songs
Functions of Metrical Dissonance in Schubert’s Songs Harald Krebs ABSTRACT Schubert employs both grouping and displacement dis- sonance very effectively in his Lieder, with definite ends in view. Much of his metrical dissonance could be termed pictorial or onomatopoeic; metrical conflicts in his piano parts often conjure up particular sounds or actions that are mentioned in the text. Many of the metrical dissonances in Schubert’s songs represent not physical objects or activity, but internal, spiritual phenomena – particularly inner upheavals and tensions. Metrical dissonances in Schubert’s songs may also have purely structural instead of, or in addition to repre- sentational functions. In Winterreise, for instance, the disso- nances, beyond their various text-related connotations, also assume a motivic function: particular specific displacement dissonances recur frequently. In Schubert’s tonally deviating songs—songs that begin in one key and end in another— metrical dissonance may act as a highlighter of significant moments within the tonal drama. The analyses provided here reveal that Schubert is a pioneer of the powerful appli- cation of metrical dissonance in the Lied, and that his skill at subtly manipulating this device for text-expressive and struc- tural purposes was no less remarkable than that reflected in his manipulation of harmony and tonality. 1 2 Harald Krebs We can conceive of musical meter as a set of layers of regular pulses, those pulses being created by various types of accents, by repetitions of patterns, by changes of harmony, and other musical features. Each notated meter is defined by a particular set of lay- ers—six-eight time, for instance, by aligned six- and three-eighth- note layers. -
Goethe's Faust in Music
Music in Goethe’s Faust: INTERNATIONAL CONFERENCE Goethe’s Faust in Music CALL FOR PAPERS 20-22 April 2012 Music Department and School of Modern Languages, Literatures and Culture NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Music in Goethe’s Faust: Goethe’s Faust in Music Keynote Speakers Professor Nicholas Boyle (Schroeder Professor of German, Magdalene College Cambridge) Professor Thomas Bauman (Professor of Musicology, Northwestern University, USA) Professor Osman Durrani (Professor of German, University of Kent) The name ‘Faust’ and the adjective ‘faustian’ are as emblematic of the supra-intellectual as they are of the tragic. Such concepts haunt German cultural life and have prompted countless discussions in philosophy, literature, the visual arts and music, especially in the second half of the nineteenth and early twentieth centuries. Through this a broad trajectory can be traced from Zelter’s colourful record of the first setting of Goethe’s Faust - composed by prince and rehearsed by a royal cast in Berlin in 1816 - to Alfred Schnittke’s Faust opera of 1993. Between these two realizations, a floodtide of musical interpretations of Goethe’s Faust came into existence; these explore the theme of love, so central to opera, and the concomitant themes of redemption for both Gretchen and Faust. A theatrical work with the artistic virtuosity and moral gravity of Goethe’s Faust need not be musically inclusive, yet Goethe sought out many burgeoning musicians - Heinrich Schmieder, Carl Friedrich Zelter, Carl Eberwein and Prince Anton Heinrich Radziwill – as possible composers of Faust. While Goethe longed to have Faust set to music and considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. -
Message in the Music 6 Ii
Video = “7eventh Time Down ‘Internet Dangers’” (2:32) https://www.youtube.com/watch?v=I6lifxAPfpk iii. This is why Christian music is so powerful… not about just sounding good, but life-changing lyrics iv. Music makes us move (dance), but more than that, God is on the move! 1. Not moves like Jagger, I want you to have… (Whistle & sing), “moves like Jesus”! II. A God On The Move a. What He Is Calling You To i. I hope you know God is not a stationary God, who waits for you to show up to church to worship Him (He’s not here when we aren’t) or who waits in your bedroom for you to kneel down and prayer (He goes with you to school and everywhere else). Message in the Music 6 ii. He is active, working, always on the move First Baptist Student Ministry - Wednesday, August 6, 2016 iii. So… are you going to join Him? He’s calling you iv. College radio interview: What’s God calling you to… Tonight, we conclude our summer message series and prepare our hearts for Video = “7eventh Time Down LIVE at WGTS 91.9” (2:22) what God has in store for this new school year, as we get to know this new and https://www.youtube.com/watch?v=sT2d9JlfT7w fun band 7eventh Time Down with their latest hit single, “God Is On The Move”. b. How God Is On The Move (based on these lyrics) I. A Band On The Move i. He’s transporting people from darkness to light a.