Young People's Concerts
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
Read Book Sergei Prokofiev Peter and Wolf Pdf Free Download
SERGEI PROKOFIEV PETER AND WOLF PDF, EPUB, EBOOK Sergei Prokofiev | 40 pages | 14 Sep 2004 | Random House USA Inc | 9780375824302 | English | New York, United States Sergei Prokofiev Peter and Wolf PDF Book Prokofiev had been considering making an opera out of Leo Tolstoy 's epic novel War and Peace , when news of the German invasion of the Soviet Union on 22 June made the subject seem all the more timely. This article contains a list of works that does not follow the Manual of Style for lists of works often, though not always, due to being in reverse-chronological order and may need cleanup. William F. You have entered an incorrect email address! The cat quickly climbs into the tree with the bird, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf. Help Learn to edit Community portal Recent changes Upload file. To this day, elementary school children hear Peter and the Wolf during school assemblies or at concerts for young people. Merriam-Webster Dictionary. The Independent. However, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular children's author. The Lives of Ingolf Dahl. Russian composer — Explore more from this episode More. Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. -
The Story of Peter and the Wolf
The Story of Peter and the Wolf Early one morning, Peter opened the gate and walked out into the big green meadow. On a branch of a big tree sat a little bird, Peter's friend. "All is quiet" chirped the bird happily. Just then a duck came waddling round. She was glad that Peter had not closed the gate and decided to take a nice swim in the deep pond in the meadow. Seeing the duck, the little bird flew down upon on the grass, settled next to her and shrugged his shoulders. "What kind of bird are you if you can't fly?" said he. To this the duck replied "What kind of bird are you if you can't swim?" and dived into the pond. They argued and argued, the duck swimming in the pond and the little bird hopping along Just then grandfather came out. He was upset the shore. because Peter had gone in the meadow. Suddenly, something caught Peter's attention. "It's a dangerous place. If a wolf should come He noticed a cat crawling through the grass. out of the forest, The cat thought; then what would "That little bird is you do?" busy arguing, I'll But Peter paid just grab him. no attention to Stealthily, the cat his grandfather's crept towards him on words. Boys like her velvet paws. him are not "Look out!" shouted Peter and the bird afraid of wolves. immediately flew up into the tree, while the But grandfather duck quacked angrily at the cat, from the took Peter by middle of the pond. -
Peter and the Wolf St. Louis Symphony Orchestra
St. Louis Symphony Orchestra Education Concert Series 2019/2020 Peter and the Wolf Teacher’s Guide Tuesday, October 22, 2019 9:30am & 11:00am Wednesday, October 23, 2019 9:30am & 11:00am Stéphane Denève, Music Director Gemma New, Resident Conductor slso.org/education Table of Contents Letter from the EDCP Team……………..……………..…………………………………................................................ 2 Contact Information…………………………..………………………………………………………………………………….………… 2 Subsidized Tickets & Transportation…………………………………………………………………………………….…………. 3 Planning Your Visit………………………………………………………….……………………………………………..……….……….. 3 Concert Overview………………………………..……………….………….…….…………………………….……….……………….. 3 Lesson No. 1 – The Story …………..…..………..…….…………………………….………………………….…………………….. 4 Lesson No. 2 – Musical Characters…………………………............................................................................ 7 Lesson No. 3 – Identifying Instruments of the Orchestra...................................................................... 10 Lesson No. 4 – Music Tells a Story ……………….…................................................................................... 12 Lesson No. 5 – Character Composition …..……………………………….………..…..………………………………………. 14 About the Composers ………………………………………………….…………………………………………………………………. 17 Picture the Music ……………………………………………………………………………………………………………………………. 19 For Parents: Family Concerts……………………………………………………………………………………………………………. 20 slso.org/education 1 Dear Educators: Welcome to the SLSO’s 140th season! This season we welcome Music Director, Stéphane Denève, -
Soviet Censorship Policy from a Musician's Perspective
The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
The Nonlinear Physics of Musical Instruments
Rep. Prog. Phys. 62 (1999) 723–764. Printed in the UK PII: S0034-4885(99)65724-4 The nonlinear physics of musical instruments N H Fletcher Research School of Physical Sciences and Engineering, Australian National University, Canberra 0200, Australia Received 20 October 1998 Abstract Musical instruments are often thought of as linear harmonic systems, and a first-order description of their operation can indeed be given on this basis, once we recognise a few inharmonic exceptions such as drums and bells. A closer examination, however, shows that the reality is very different from this. Sustained-tone instruments, such as violins, flutes and trumpets, have resonators that are only approximately harmonic, and their operation and harmonic sound spectrum both rely upon the extreme nonlinearity of their driving mechanisms. Such instruments might be described as ‘essentially nonlinear’. In impulsively excited instruments, such as pianos, guitars, gongs and cymbals, however, the nonlinearity is ‘incidental’, although it may produce striking aural results, including transitions to chaotic behaviour. This paper reviews the basic physics of a wide variety of musical instruments and investigates the role of nonlinearity in their operation. 0034-4885/99/050723+42$59.50 © 1999 IOP Publishing Ltd 723 724 N H Fletcher Contents Page 1. Introduction 725 2. Sustained-tone instruments 726 3. Inharmonicity, nonlinearity and mode-locking 727 4. Bowed-string instruments 731 4.1. Linear harmonic theory 731 4.2. Nonlinear bowed-string generators 733 5. Wind instruments 735 6. Woodwind reed generators 736 7. Brass instruments 741 8. Flutes and organ flue pipes 745 9. Impulsively excited instruments 750 10. -
A Teacher's Manual & Student Guide
Part A The Society of the Four Arts Children’s Library Presents Sergei Prokofiev’s Peter and the Wolf Presented by Palm Beach Symphony & Ballet Palm Beach Friday, November 4, 2016 10:15 a.m. & 11:45 a.m. A Teacher’s Manual & Student Guide Approved for Grade Levels K – 5 Children’s Library Society of the Four Arts 2 Four Arts Plaza, Palm Beach, FL 33480 T – (561) 655-2776 F – (561) 655-7233 RESERVATIONS BEGIN: Wednesday, September 7, 2016 1 Part A TABLE OF CONTENTS About Performances at The Society of the Four Arts 3 Programs Summary 5 Palm Beach Symphony 5 Ballet Palm Beach 6 Teacher Development 7 Adaptations of Peter and the Wolf 8 Vocabulary 9 Types of Instruments 10 Cast of Characters 10 More About Orchestras 10 Pre-Activities 11 Post-Activities 12 Lesson Plan 13 Lesson Plan Scale 17 Peter and the Wolf Character Traits Worksheet 19 Key Terms Match 21 Key Terms Teacher Sheet 23 Are You Ready to Visit The Four Arts? 25 Standards: Kindergarten through 5th Grade 28 Evaluation 36 [See Part A for Pages 1-20; See Part B Pages 21-36] 2 Part A About Performances at the Society of the Four Arts ◊ We welcome the opportunity for you and your students to take part in one of our free presentations for school aged children. Performances take place in our 700 seat auditorium, which is equipped with state-of-the-art lighting and sound systems. ◊ On the day of your trip, please arrive 15 to 30 minutes before the performance time to give your students time to use the restrooms and find their seats. -
Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys. -
Peter and the Wolf
TEACHERS’ GUIDE AND PETERTHE WOLF CSO SCHOOL CONCERTS April 28, 2017 • 10:15 & 12:00 TABLE OF CONTENTS Letter from the Staff of the Negaunee Music Institute 1 Program Information 2 Lesson 1: Character Identification 3 Lesson 2: Moving to Music 11 Postconcert Reflection 17 Composer History 18 Additional Resources & Acknowledgments 19 Teacher’s Guide Chicago Symphony Orchestra Dear Teachers, Welcome to the Chicago Symphony Orchestra’s 2016/17 School Concert season. This year our programs explore courage, an important quality for everyone to develop and one that is often displayed by artists and musicians. We are so pleased the Chicago Symphony Orchestra can be a resource for the musical, social and emotional development of your students. We know preparation can unlock immense joy and deep understanding of a live performance. We saw this excitement and engagement after teachers used the Symphonic Superheroes Teacher’s Guide to prepare their students last November: students arrived at Symphony Center primed for the concert. They were captivated by the performance, excited to hear the superhero musicians of the CSO and were enthusiastic when it came time to sing “Ode to Joy.” This exemplifies the experience we would like our patrons to have surrounding every Chicago Symphony Orchestra School Concert! In this guide, you will find two lesson plans that can be easily executed by a classroom or music teacher, plus a reflection page for you and your students to complete after you have attended the concert. Our hope is that these plans will serve as an important resource for you in anticipation of your day at Symphony Center. -
Sergei Prokofiev
Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.