Hidden Markov Models for Music Classification
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Graduate Recital in Viola
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 Graduate recital in viola Gabriel Mateo Forero Villamizar University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Gabriel Mateo Forero Villamizar Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Villamizar, Gabriel Mateo Forero, "Graduate recital in viola" (2019). Dissertations and Theses @ UNI. 972. https://scholarworks.uni.edu/etd/972 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. GRADUATE RECITAL IN VIOLA An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music in Performance Gabriel Mateo Forero Villamizar University of Northern Iowa May 2019 This Study by: Gabriel Mateo Forero Villamizar Entitled: Graduate Recital in Viola has been approved as meeting the thesis requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. Julia Bullard, Chair, Thesis Committee ___________ _____________________________________________________ Date Dr. Rebecca Burkhardt, Thesis Committee Member ___________ _____________________________________________________ Date Dr. Ross Winter, Thesis Committee member ___________ _____________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Gabriel Mateo Forero Villamizar Entitled: Graduate Recital in Viola Date of Recital: March 29, 2019 has been approved as meeting the recital requirement for the Degree of Master of Music in Performance ___________ _____________________________________________________ Date Dr. -
On STAGE Series Carter and Beyond: Invention and Inspiration
San Francisco Contemporary Music Players on STAGE Series Carter and Beyond: Invention and Inspiration CARTER CHODOS SCHROEDER OCT 20, 2018 Taube Atrium Theater San Francisco, CA This event is San Francisco Contemporary Music Players Adam Luftman, trumpet Chris Froh, percussion David Tanenbaum, guitar Hannah Addario-Berry, cello Hrabba Atladottir, violin Jeff Anderle, clarinet Karen Gottlieb, harp Kate Campbell, piano Kyle Bruckmann, oboe The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble Loren Mach, percussion of highly skilled musicians, performs innovative contemporary classical music Meena Bhasin, viola based out of the San Francisco Bay Area. Nanci Severance, viola Nick Woodbury, percussion SFCMP aims to nourish the creation and dissemination of new works through Peter Josheff, clarinet high-quality musical performances, commissions, education and community Peter Wahrhaftig, tuba outreach. SFCMP promotes the music of composers from across cultures Richard Worn, contrabass and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as Roy Malan, violin possible, both in and outside of traditional concert settings. Sarah Rathke, oboe Stephen Harrison, cello SFCMP evolved out of Bring Your Own Pillow concerts started in 1971 by Susan Freier, violin Charles Boone. Three years later, it was incorporated by Jean-Louis LeRoux and Tod Brody, flute Marcella DeCray who became its directors. Across its history, SFCMP has been led William -
Daniel Saidenberg Faculty Recital Series
Daniel Saidenberg Faculty Recital Series Roger Tapping, Viola with Laurie Smukler, Violin Qing Jiang, Piano Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital Roger Tapping, Viola with Laurie Smukler, Violin Qing Jiang, Piano Friday, March 16, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series JOHANNES BRAHMS Scherzo in C Minor, Op. 4 (1833–97) from F-A-E Sonata for Viola and Piano (1853) ALBAN BERG Four Pieces for Viola and Piano, Op. 5 (1913) (1885–1935) (trans. Roger Tapping) Mässig–Langsam Sehr langsam Sehr rasch Langsam BRAHMS Horn Trio in E-flat Major, Op. 40 (1865) (transcription for violin, viola, and piano approved by Brahms) Andante Scherzo: Allegro: Molto meno allegro Adagio mesto Finale: Allegro con brio Intermission DMITRI Sonata for Viola and Piano, Op. 147 (1975) SHOSTAKOVICH Moderato (1906–75) Allegretto Adagio Performance time: approximately 1 hour and 35 minutes, including one intermission Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. -
The Chaconne and Passacaglia Throughout Violin Literature
A BSTR A C T Title of Dissertation: REBORN IN THE 20 TH CENTURY: THE CHACONNE AND PASSACAGLIA THROUGHOUT VIOLIN LITERATURE Pyung-Kang Sharon Oh, Doctoral of Musical Arts, 2021 Dissertation directed by: Professor James Stern, Strings Department In the late 16 th century, the chacona was the most energetic and wild type of baile, a popular Spanish dance. It was a lively, suggestive, and festive peasant dance, which, by the early 17 th century, had developed into a distinct variation form involving a repeated bass line or chord progression. This performance dissertation explores the symbolic significance of both the chaconne and the passacaglia in performance as well as in written form. The performance was a recital program which comprised the Bach Partita No. 2 for Solo Violin and the Shostakovich Violin Concerto No. 1, each featuring the chaconne and passacaglia respectively in their emotionally climactic movements. I performed the recital with pianist Hsiang-Ling Hsiao, on November 1, 2016, in the Gildenhorn Recital Hall. In this document, I explore how the chaconne in violin repertoire has changed over time by analyzing the repeating units, stylistic changes, and historical backgrounds. The paper is organized into two parts. Part I surveys the Baroque period chaconnes. The earlier, celebratory chaconnes include works by Monteverdi, Bertali, and Corelli. The elegant and courtly chaconnes include works by Schmelzer and Lully; the chaconnes representing fate include works by Biber, Purcell, and Bach. In the Classical and Romantic periods, the chaconne was discontinued, but it becam e revitalized again in the 20 th century. Part II discusses 20 th -century chaconnes and the im petus for its rebirth after a long hiatus. -
Download Full Paper
RSU International Research Conference 2020 https://rsucon.rsu.ac.th/proceedings 1 MAY 2020 Ether-Cosmos No. XX: Translation Technique Wiboon Trakulhun Conservatory of Music, Rangsit University, Pathum Thani, Thailand Corresponding author, E-mail: [email protected], [email protected] ________________________________________________________________________________________________ Abstract Ether-Cosmos comprises of twenty pieces for piano. The length of each piece is about 1-3 minutes, except the piece no. 18 which is longer than 12 minutes. Ether-Cosmos No. 20 is about 1.50 minutes in length. This piece was made by translating a name of an individual into musical notes or called “translation technique.” All pitches of melody in section A and B were derived from the composer’s first name and last name, whereas rhythm and pitch of each note of the melody were created by the composer. Besides, the melody throughout the whole piece was placed on the top notes. The tonal center in section A and the home key are on the note G that is related to the last note of the melodies. In terms of the harmonic or chord progression and key signature, the composer has created to suit the stated melody using chromatic chord and third-relation modulation or chromatic mediant that move to the key of Bb. Moreover, the composer imitates many compositional concepts from Romantic music era. Therefore, the sound of this piece is similar to music in Romantic period. Keywords: Translation Technique, Chromatic Mediant, Ether-Cosmos _______________________________________________________________________________________________ 1. Introduction The last piano piece, Ether-Cosmos No. 20, is a musical composition within “Ether-Cosmos Twenty Pieces for Piano” which is under the creative research project of “Ether-Cosmos: Piano Music Compositions for Analysis.” The creative research was granted funding from the Thailand Research Fund (TRF) and National Research Council of Thailand ( NRCT) in 2015. -
Ourtney Lewis, Conductor Courtney Hershey Bress, Harp See Page 3 for More Details Photo: Dona Laurita Photo: COURTNEY
2015-2016 SEASON Elgar “Enigma Variations” OCT 16-17 Courtney Lewis, conductor Courtney Hershey Bress, harp See page 3 for more details Photo: Dona Photo: Laurita COURTNEY coloradosymphony.org 303.623.7876 box office 1000 14th St., Denver,T CO 80202 mon-fri: 10am - 6pm sat: 12pm - 6 pm Boettcher Concert HallT at the Denver Performing Arts Complex BOGGESS Dvořák Symphony No. 9 “From The New World” MAY 13-14 FRI-SAT 7:30 Andre de Ridder,T conductor Yumi Hwang-Williams, violin Table of Contents 2015/16 Season Programs 2-13 Season at a Glance 14-15 Subscriber Benefits 16-17 Season Packages 18-20 Series Information 21 Flex Pass 22 New Subscriber Form 23-24 Seating Charts 25 Colorado Symphony Score 26-27 Support the Symphony 28-29 FROM THE BOARD CHAIR Mary Rossick Kern & Jerry Kern Co-chairs, Colorado Symphony Board of Trustees pringtime in Denver means exciting news from the Colorado Symphony: the announcement of all that awaits in the coming concert season. I’m thrilled and honored to present the 2015/16 lineup, which includes music for every taste and background. From traditional Masterworks to Pops and every series in between, the Colorado Symphony offers a range of programming designed to appeal Sto an audience as diverse as our great state. The common theme? Excellence. Have a look through these pages and you’ll see why the Colorado Symphony is recognized as one of the finest and most innovative orchestras in the United States. Guided by the artistic vision of Music Director Andrew Litton and created in collaboration with the orchestra’s musicians, the 2015/16 season explores the breadth, depth, virtuosity, and even playfulness of this exemplary ensemble. -
Musical Gematria
Musical Gematria William Zeitler San Bernardino, CA 2012 Copyright © 2012 Musica Arcana Contents Introduction .....................................................................................................1 Pythagoras ........................................................................................................3 Harmony ..........................................................................................................3 Music of the Spheres ......................................................................................5 Greek Gematria ...............................................................................................5 Hebrew Gematria ............................................................................................8 English Gematria ............................................................................................9 Other Ancient Numbering Systems .............................................................9 Number Bases ...............................................................................................11 Music & Number Bases ...............................................................................13 Musical Gematria ..........................................................................................16 The Signifi cance of Musical Gematria ......................................................17 Appendix 1: A Melodic Gesture Based on a Hebrew Phrase ................20 Appendix 2: A Rythmic Musical Gematria Example ..............................21 Appendix -
The Role of Narrative in Performing Schumann and Chopin's Music
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2017 The oler of narrative in performing Schumann and Chopin’s music Yu-Wen Chen James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Chen, Yu-Wen, "The or le of narrative in performing Schumann and Chopin’s music" (2017). Dissertations. 140. https://commons.lib.jmu.edu/diss201019/140 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Role of Narrative in Performing Schumann and Chopin’s Music Yu-Wen Chen A document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2017 FACULTY COMMITTEE: Committee Chair: Gabriel Dobner Committee Members/ Readers: Eric Ruple John Peterson ACKNOWLEDGMENTS I am thankful for the numerous people that have contributed to this document. I would like to first thank my committee members: to Dr. Gabriel Dobner, my applied teacher and advisor, for all of his musical expertise and unwavering support, for all these years, I have been fortunate to have his guidance; to Dr. John Peterson, for helping my understanding of musical narrative and providing suggestions regarding analysis and writing; to Dr. Eric Ruple, for his continued patience and gracious encouragement. I would especially like to take this opportunity to express my gratefulness to my former teacher Harvey Wedeen (1927-2015) who supported and inspired me during my years of musical studies at Temple University. -
Electronic Music Midwest 16Th Annual Festival Providing Access to New
16th Annual Festival Electronic Music Midwest October 13-15, 2016 Lewis University Providing access to new electroacoustic music by living composers October 13-15, 2016 Lewis University Romeoville, IL October 13, 2016 Dear Friends, Welcome to the 16th Annual Electronic Music Midwest! We are truly excited about our opportunity to present this three-day festival of electroacoustic music. Over 200 works were submitted for consideration for this year’s festival. Congratulations on your selection! Since 2000, our mission has been to host a festival that brings new music and innovative technologies to the Midwest for our students and our communities. We present this festival to offer our students and residents a chance to interact and create a dialog with professional composers. We are grateful that you have chosen to help us bring these goals to fruition. We are grateful to Sarah Plum for serving as our artist in residence this year. Sarah is an outstanding performer who is a champion of new music. We are confident you will be impressed by her performances throughout the festival. The 2016 EMM will be an extraordinary festival. If only for a few days, your music in this venue will create a sodality we hope continues for a long time to follow. Your contribution to this festival gives everyone in attendance insight into the future of this ever developing field of expression. We are delighted that you have chosen to join us this year at EMM, and we hope that you have a great time during your stay. If we can do anything to make your experience here better, please do not hesitate to ask any of the festival team. -
May 23–June 11, 2016
FOR RELEASE: March 8, 2016 PROGRAM UPDATES AND Contact: Katherine E. Johnson NEW EVENTS ADDED (212) 875-5718; [email protected] UPDATED May 25, 2016 May 23–June 11, 2016 THREE-WEEK EXPLORATION OF TODAY’S MUSIC PRESENTED BY THE NEW YORK PHILHARMONIC AND TWELVE PARTNERS IN EIGHT VENUES THROUGHOUT NEW YORK CITY NEWLY ADDED: Insights Series: Free NY PHIL BIENNIAL Preview Night with Alan Gilbert, May 11 at David Rubenstein Atrium NY PHIL BIENNIAL Play Dates: Post-Concert Meet-Ups with Composers and Artists #biennialist Social Media Contest Programs for New York City Electroacoustic Music Festival with Works by More Than 30 Composers June 5–7, 2016, at National Sawdust BOULEZ’s Messagesquisse and STUCKY’s Second Concerto for Orchestra Added to Finale Program with Alan Gilbert and the New York Philharmonic In Tribute to the Late Composers June 11 at David Geffen Hall From May 23 to June 11, 2016, the New York Philharmonic and Music Director Alan Gilbert will present the second NY PHIL BIENNIAL, a wide-ranging exploration of today’s music by an array of contemporary and modern composers. A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and in venues throughout the city. The 2016 NY PHIL BIENNIAL will feature works by more than 100 composers, more than half of whom are American, spanning in age and experience from students to iconic legends. Reflecting the Philharmonic’s growing collaborations with music education organizations from New York City to Asia, in the second NY PHIL BIENNIAL the Philharmonic will present new-music programs from some of the country’s top music schools, ranging from high school to university levels, and youth choruses from the East and West Coasts. -
HEINE, HÖLDERLIN, and GOETHE in the MUSIC of HANNS EISLER Heidi Hart a Dissertation Submitted to the Faculty
CONTRARY VOICES: HEINE, HÖLDERLIN, AND GOETHE IN THE MUSIC OF HANNS EISLER Heidi Hart A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Carolina- Duke Graduate Program in German Studies. Chapel Hill 2016 Approved by: Thomas Pfau Bryan Gilliam Eric Downing Gabriel Trop Lawrence Kramer Jørgen Bruhn © 2016 Heidi Hart ALL RIGHTS RESERVED ii ABSTRACT Heidi Hart: Contrary Voices: Heine, Hölderlin, and Goethe in the Music of Hanns Eisler (Under the direction of Thomas Pfau) Contrary Voices examines composer Hanns Eisler’s settings of nineteenth-century poetry under changing political pressures from 1925 to 1962. The poets’ ideologically fraught reception histories, both under Nazism and in East Germany, led Eisler to intervene in this reception and voice dissent by radically fragmenting the texts. His musical settings both absorb and disturb the charisma of nineteenth-century sound materials, through formal parody, dissonance, and interruption. Eisler’s montage-like work foregrounds the difficult position of a modernist artist speaking both to and against political demands placed on art. Often the very charisma the composer seeks to expose for its power to sway the body politic exerts a force of its own. At the same time, his text-settings resist ideological rigidity in their polyphonic play. A dialogic approach to musical adaptation shows that, as Eisler seeks to resignify Heine’s problematic status in the Weimar Republic, Hölderlin’s appropriation under Nazism, and Goethe’s status as a nationalist symbol in the nascent German Democratic Republic, his music invests these poetic voices with surprising fragility and multivalence. -
Schumann's Violin Concerto Went To
SCHUMANN’S VIOLIN CONCERTO: A NEGLECTED TREASURE? BY DINA MARIA NEGLIA-KHACHATRYAN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Kevork Mardirossian, Research Director ______________________________________ Stephen Wyrczynski, Chair ______________________________________ Brenda Brenner ______________________________________ Ayana Smith November 30, 2015 ii © 2015 Dina Maria Neglia-Khachatryan iii To Zizzi Maria, who is the reason I became a violinist, and in memory of my beloved father, Giuseppe Neglia iv Acknowledgements I would like to express my heartfelt gratitude to my teacher, Kevork Mardirossian, for all of his guidance, time, and belief in me. I would also like to thank the members of my committee for all of their time and help along my journey. Thank you to Dr. Brenda Brenner, Dr. Ayana Smith, and Professor Stephen Wyrcynzski. v Table of Contents Acknowledgements ............................................................................................................v List of Examples .............................................................................................................. vii List of Diagrams ..............................................................................................................