Episode 2 Meter Organizing the Beat 1OVERVIEW Meter Determines How Many Beats Are in a Measure
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lyric Provinces in the English Renaissance
Lyric Provinces in the English Renaissance Harold Toliver LYRIC PROVINCES IN THE ENGLISH RENAISSANCE Harold Toliver Poets are by no means alone in being pre pared to see new places in settled ways and to describe them in received images. Outer regions will be assimilated into dynasties, never mind the hostility of the natives. The ancient wilderness of the Mediterranean and certain biblical expectations of what burning bushes, gods, and shepherds shall exist every where encroach upon the deserts of Utah and California. Those who travel there see them and other new landscapes in terms of old myths of place and descriptive topoi; and their descriptions take on the structure, to nality, and nomenclature of the past, their language as much recollection as greeting. In Professor Toliver's view, the concern of the literary historian is with, in part, that ever renewed past as it is introduced under the new conditions that poets confront, and is, therefore, with the parallel movement of liter ary and social history. Literature, he reminds us, is inseparable from the rest of discourse (as the study of signs in the past decade has made clearer), but is, nevertheless, distinct from social history in that poets look less to common discourse for their models than to specific literary predecessors. Careful observ ers of place, they seek to bring what is distinct and valuable in it within some sort of verbal compass and relationship with the speaker. They bring with them, however, formulas and tf > w if a loyalty to a cultural heritage that both com plicate and confound the lyric address to place. -
Canada Needs You Volume One
Canada Needs You Volume One A Study Guide Based on the Works of Mike Ford Written By Oise/Ut Intern Mandy Lau Content Canada Needs You The CD and the Guide …2 Mike Ford: A Biography…2 Connections to the Ontario Ministry of Education Curriculum…3 Related Works…4 General Lesson Ideas and Resources…5 Theme One: Canada’s Fur Trade Songs: Lyrics and Description Track 2: Thanadelthur…6 Track 3: Les Voyageurs…7 Key Terms, People and Places…10 Specific Ministry Expectations…12 Activities…12 Resources…13 Theme Two: The 1837 Rebellion Songs: Lyrics and Description Track 5: La Patriote…14 Track 6: Turn Them Ooot…15 Key Terms, People and Places…18 Specific Ministry Expectations…21 Activities…21 Resources…22 Theme Three: Canadian Confederation Songs: Lyrics and Description Track 7: Sir John A (You’re OK)…23 Track 8: D’Arcy McGee…25 Key Terms, People and Places…28 Specific Ministry Expectations…30 Activities…30 Resources…31 Theme Four: Building the Wild, Wild West Songs: Lyrics and Description Track 9: Louis & Gabriel…32 Track 10: Canada Needs You…35 Track 11: Woman Works Twice As Hard…36 Key Terms, People and Places…39 Specific Ministry Expectations…42 Activities…42 Resources…43 1 Canada Needs You The CD and The Guide This study guide was written to accompany the CD “Canada Needs You – Volume 1” by Mike Ford. The guide is written for both teachers and students alike, containing excerpts of information and activity ideas aimed at the grade 7 and 8 level of Canadian history. The CD is divided into four themes, and within each, lyrics and information pertaining to the topic are included. -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
Program: Major: Conducting Degree: Master of Music (M.M.) Dept: Music
University of Central Oklahoma Graduate Catalog 2021-2022 Program: Music Dept: Music Major: Conducting College: Fine Arts & Design Degree: Master of Music (M.M.) Major Code: 1613 Music - Conducting, M.M. The Conducting major will help prepare students in the field of conducting to develop a higher level of proficiency in conducting music for instrumentalists and/or vocalists in a variety of contexts, culminating in a recital and/or special project. This major also allows individuals to pursue areas of special and related interest through elective studies. The University of Central Oklahoma is accredited by the National Association of Schools of Music (NASM). Graduate Coordinator: Dr. Sam Magrill program advisor before it can be considered official. Email: [email protected] • Academic Standards. Meet the following course work Office: MUS 220 standards: Phone: 405 - 974 - 5684 ◦ Overall GPA of 3.00 or higher. ◦ No more than 6 hours of “C”. Admission Requirements ◦ No more than six advisor-approved hours from traditional correspondence courses. Submit the following items to: • Culminating Project. Candidates in each major must Jackson College of Graduate Studies successfully complete a culminating project. Conducting 100 N. University Drive, NUC 404 majors must, under supervised preparation, conduct a Edmond, OK 73034 major work for large ensemble (band, orchestra, choir, vocal production), which will be evaluated by a committee of three • Online application for admission (www.uco.edu/graduate/). relevant members of the graduate faculty. • Official copies of undergraduate and graduate transcripts from • Comprehensive Examination. The degree candidate must at each institution attended with all degrees posted. Completion the end of study pass a comprehensive examination based of an appropriate undergraduate program (or equivalent on all previous instruction and relevant general knowledge of for international students) and demonstration of at least music. -
Lyrics for Songs of Our World
Lyrics for Songs of Our World Every Child Words and Music by Raffi and Michael Creber © 1995 Homeland Publishing From the album Raffi Radio Every child, every child, is a child of the universe Here to sing, here to sing, a song of beauty and grace Here to love, here to love, like a flower out in bloom Every girl and boy a blessing and a joy Every child, every child, of man and woman-born Fed with love, fed with love, in the milk that mother’s own A healthy child, healthy child, as the dance of life unfolds Every child in the family, safe and warm bridge: Dreams of children free to fly Free of hunger, and war Clean flowing water and air to share With dolphins and elephants and whales around Every child, every child, dreams of peace in this world Wants a home, wants a home, and a gentle hand to hold To provide, to provide, room to grow and to belong In the loving village of human kindness Lyrics for Songs of Our World Blue White Planet Words and music by Raffi, Don Schlitz © 1999 Homeland Publishing, SOCAN-New Hayes Music-New Don Songs, admin. By Carol Vincent and Associates, LLC, All rights reserved. From the album Country Goes Raffi Chorus: Blue white planet spinnin’ in space Our home sweet home Blue white planet spinnin’ in space Our home sweet home Home for the children you and me Home for the little ones yet to be Home for the creatures great and small Blue white planet Blue white planet (chorus) Home for the skies and the seven seas Home for the towns and the farmers’ fields Home for the trees and the air we breathe Blue white planet -
Copyright Matters
Copyright Matters The copyright clearance statement is included on the competition entry form. By completing and submitting the entry form, the quartet or the president/ team leader, on behalf of the chorus, is stating that to the best of their knowledge the arrangements the group is performing are legal arrangements; either they have been cleared through the copyright process, are original works, or are songs in the public domain. Generally, when you purchase music you can assume that appropriate permissions have been obtained. However, if you are not certain, it is acceptable to ask the music provider to verify that the arrangement has cleared the copyright approval process. Please be aware that lyrics, like the music itself, are copyright protected. Legal issues typically occur only when a performer makes musical or lyrical changes to a published arrangement without permission. Altering a few words to personalize the song for the performer is usually permissible; however, if the lyrical changes involve a parody, with very few exceptions a performer must obtain permission from the copyright holder to make such changes. Parody lyrics are defined by Jay Althouse in his book, Copyright: The Complete Guide for Music Educators, as follows: “Parody lyrics are lyrics which replace the original lyrics of a vocal work or are added to an instrumental work. In general, any parody lyric or the revision of a lyric that changes the integrity (character) of the work requires authorization from the copyright owner.” Copyright holders have the right to say “no” to any particular arrangement of their music, and they exercise that right frequently when it comes to parodies. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
DMA Conducting and Literature
DEGREE PLAN UNIVERSITY OF COLORADO, BOULDER COLLEGE OF MUSIC DOCTOR OF MUSICAL ARTS Major Field: WIND CONDUCTING AND LITERATURE REQUIREMENTS I. ACADEMIC REQUIREMENTS. As shown below, the D.M.A. degree requires 6 credits of graduate-level course work in musicology (not counting Music Bibliography) prior to enrolling in MUSC 6822 and 6 graduate credits in music theory prior to enrolling in MUSC 6801.* These preparatory academic courses do not need to be officially transferred, but they must be validated in writing by the Associate Dean for Graduate Studies before the student enrolls in 6000-level courses. Also note that Preliminary Exam requirements in musicology and theory must be completed prior to registration for 5000-level or higher courses in the respective academic disciplines. With the approval of their faculty advisory committee members, D.M.A. students may elect to take both 6000-level courses in musicology or both in music theory. credit hours Musicology course work* in preparation for MUSC 6822 (0-6) Advanced Studies in Musicology (MUSC 6822). Prerequisite: Introduction to Music 3 Bibliography and Research (MUSC 5708) or equivalent.* With instructor’s permission, a Ph.D. seminar in musicology (MUSC 7822 or MUSC 7832) may be substituted. Music Theory course work* in preparation for MUSC 6801 (0-6) Advanced Topics in Theory (MUSC 6801). Prerequisite: Introduction to Music 3 Bibliography and Research (MUSC 5708) or equivalent.* With instructor’s permission, a Ph.D. seminar in theory (MUSC 7801) may be substituted. _____ subtotal: 6 - 18 *Graduate-level course work from a master’s degree may apply. Upon the recommendation of the area faculty, these courses may be validated in writing by the Associate Dean. -
Songs of the Classical Age
Cedille Records CDR 90000 049 SONGS OF THE CLASSICAL AGE Patrice Michaels Bedi soprano David Schrader fortepiano 2 DDD Absolutely Digital™ CDR 90000 049 S ONGS OF THE C LASSICAL A GE FRANZ JOSEF HAYDN MARIA THERESIA VON PARADIES 1 She Never Told Her Love.................. (3:10) br Morgenlied eines armen Mannes...........(2:47) 2 Fidelity.................................................... (4:04) WOLFGANG AMADEUS MOZART 3 Pleasing Pain......................................... (2:18) bs Cantata, K. 619 4 Piercing Eyes......................................... (1:44) “Die ihr des unermesslichen Weltalls”....... (7:32) 5 Sailor’s Song.......................................... (2:25) LUDWIG VAN BEETHOVEN VINCENZO RIGHINI bt Wonne der Wehmut, Op. 83, No. 1...... (2:11) 6 Placido zeffiretto.................................. (2:26) 7 SOPHIE WESTENHOLZ T’intendo, si, mio cor......................... (1:59) ck Morgenlied............................................. (3:24) 8 Mi lagnerò tacendo..............................(1:37) 9 Or che il cielo a me ti rende............... (3:07) FRANZ SCHUBERT bk Vorrei di te fidarmi.............................. (1:27) cl Frülingssehnsucht from Schwanengesang, D. 957..................... (4:06) CHEVALIER DE SAINT-GEORGES bl L’autre jour à l’ombrage..................... (2:46) PAULINE DUCHAMBGE cm La jalouse................................................ (2:22) NICOLA DALAYRAC FELICE BLANGINI bm Quand le bien-aimé reviendra............ (2:50) cn Il est parti!.............................................. (2:57) -
Mm Conducting 2020-2021
MASTER OF MUSIC IN CONDUCTING Silent Advisor 2020 – 2021 Orchestral Conductors Credits Minimum 10 credits to include the following: Conducting: Seminar in 501 2-4 Orchestral Conducting Directed Performance in 502 2 Orchestral Conducting Seminar in Choral Conducting 505 2-4 Additional SMTD Requirements Aural Skills for Conductors 510 minimum 4 Music Theory (500 level) – 3 credits credits Musicology (500 level) – 3 credits Music Theory or Musicology (500 level) – 3 credits Performance (426 or above) – 4 credits Choral Conductors Credits Conducting: Seminar in 501 1 term Ensemble – 545 (Univ Orch), 547 (Univ Band), Orchestral Conducting 549 (Univ Choir), 550 (Chamber Choir), or 470 Seminar in Choral Conducting 505 4 terms (Orpheus Singers) elected each term Directed Performance in 506 2 Choral Conducting Aural Skills for Conductors 510 2 terms Final Project – Conducting project consisting of two Voicelit: Teaching of Voice 519 2 or more conducting appearances, one of which must be with a School of Music, Theatre & Dance major ensemble. Other appearances may be with non-major ensembles or ad hoc ensembles Band/Wind Conductors Credits Conducting: Seminar in 503 2-4 Band and Wind Ensemble Conducting Minimum Total Credits Required: 32 Directed Performance in 504 2 Band and Wind Conducting Seminar in Choral Conducting 505 2-4 Aural Skills for Conductors 510 minimum 4 credits This term layout is provided as a guideline only. The sequence of elections and credits may vary based on individual circumstances. For more specific information, see an -
Music Lyrics
Music Music Lyrics This section contains the lyrics of all the songs used in Prevention Dimensions lessons. A Little Bit of Honey From the CD Take a Stand Music and Lyrics by Steve James © 2000 BMI Performed by Steve James Featuring The Basin Street Band Isn’t it funny how a little bit of honey Makes every day worth while A little bit of kindness Making up your mind Just to give a little smile If someone’s unhappy quick and make it snappy Ask if they need help ’Cause a little bit of honey Can make a day so sunny You’ll feel good about yourself (Repeat) Kindergarten page 125 Music Be a Builder From the CD Be a Builder Music by Steve James Lyrics by Steve and Lisa James © 1999, BMI Performed by Nolanda Smauldon (Verse) They call me a builder ’Cause I don’t tear anybody down I like to be a builder Don’t wanna see anybody frown I like to make people feel better Whenever I am around (Chorus) I like to shake someone’s hand Help them understand they’re special And that’s my style I’m part of a team to build self-esteem So I go the extra mile Cause I’m a builder Constructin’ somethin’ worthwhile (Verse) I’m a builder I won’t tear anybody down I’m a builder I won’t see anybody frown I wanna make people feel better Whenever I am around (Repeat Chorus) (Gospel Choir) Build up my neighbor Do the world a favor With every labor Build up my neighbor I’m not gonna tear my neighbor down (Repeat) I’m gonna build up the world I’m gonna be a builder Kindergarten page 126 Music Buckle Up From the CD Take a Stand Music and Lyrics by Steve James © 2000 BMI