Graduate Conducting Program Choral and Orchestral
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What Is Conductorcise® ?
WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones. -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
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. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭. -
Symphony Arlington Donors 2020-2021
C SYMPHONY ARLINGTON BOARD OF DIRECTORS 2020-2021 Linda Gibson, President Hollis R. Lackey, Vice President Faye Reeder, Secretary Doreen Bruner, Treasurer Lisa Farrimond Marlene Hutchison Barry Johnson Virginia Lackey Valerie Landry Anne Wilson-Stanberry 2 STAFF General Manager Ann Gerrity Executive Director Mark Hughes Office Manager Brenda Hughes Education Director Robert Fishman Community Outreach Danielle Mendelson Finance Manager Brenda Resseguie Music Librarian Sarah Myers Production Manager Chris Finley Stage Crew Basil Drayton Stage Crew Michael Finley Stage Crew Randall Fuller SYMPHONY ARLINGTON DONORS 2020-2021 Presto ($5,000 and up) Anonymous • Arlington Cultural Tourism Council National Endowment for the Arts • Texas Commission on the Arts Allegro ($1,000 to $4,999) Frances Jean Browning • Lawrence Wallace Memorial Fund Moderato ($500 to $999) Joe & Doreen Bruner • Dave & Jennifer Lloyd • Fred & Lynda Weekley Andante ($250 to $499) Ed & Lonette Bebensee • Gary Bledsoe • Suzanne & Bill de Decker Charles W. Duke, Jr. • Marjorie Hammond Memorial Fund Adagio ($100 to $249) Lisa Bedwell • Jim & Jerrie Buehrig • Nigel & Theresa Crouch Priscilla Donkle • Randy Farmer • Candy Halliburton A Donation in Memory of Mary Jo Jameson • Hollis & Virginia Lackey Carolyn Morton • Bill Palmer • James & Faye Reeder Irmgard Schmidt • Darlus L. Schoonover • Ralph & Alice Sobel Jack Thornton • Richard Urso • Donald Trimble • Peggy Uribe ADOPT-A-MUSICIAN Stephen Page, Concertmaster Sponsored by Frances Jean Browning Laura Ospina, Principal Cello Sponsored by Joe & Doreen Bruner Robert Carter Austin A native of Tennessee, Robert Carter Austin is currently in his twenty-first season as Music Director of Symphony Arlington. Maestro Austin has an unusually diverse educational background for a classical musician, including a Bachelor of Science degree from the Massachusetts Institute of Technology, a Diploma (with Distinction) in Computer Science from Cambridge University, and a Master of Musical Arts degree from Stanford University. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Baroque & Classical Music
Baroque & Classical Music Structure • Balanced phrasing (phrases are equal lengths, usually two or 4 bars long). • Question and answer (when a 2 or 4 bar phrase is answered by a phrase of an equal length). • Binary form (AB). Each section is repeated (look out for repeat signs). A change in key (home note) provides a contrast between the two sections. • Ternary form (ABA) • Rondo form (ABACA). • Theme and variation. A theme is played and then repeated with variations. Variations can be created in many ways e.g. by adding ornaments, changing the accompaniment, changing the instrumentation, inverting the melody. This is called melodic development. Other features • Ornamentation (twiddly bits / melodic decoration). For example: trill, turn and grace note. • In a trill, 2 next door notes alternate really quickly e.g. CDCDCDCDCDCDCD • A turn is made up of 4 next door notes shaped like this: or • Grace note/s are crushed very quickly onto the main melody note. They appear on the score as tiny notes e.g. • Sequences are created when a motive (a short bit of melody) is repeated on a different note. If the motive is repeated on a higher set of notes this is called an ascending sequence. If the motive is repeated on a lower set of notes this is called a descending sequence. • Imitation (especially in Baroque music) is created when a motive is copied, often by a different instrument or voice. • Melodic inversion is often used to create variation (e.g. CDE becomes EDC) • Ostinato (a repeating pattern, often occurs in an accompanying part) Tonality OR scales and harmonies • Major and minor keys, established in the Baroque period, continued to be used in the Classical period. -
How to Effectively Listen and Enjoy a Classical Music Concert
HOW TO EFFECTIVELY LISTEN AND ENJOY A CLASSICAL MUSIC CONCERT 1. INTRODUCTION Hearing live music is one of the most pleasurable experiences available to human beings. The music sounds great, it feels great, and you get to watch the musicians as they create it. No matter what kind of music you love, try listening to it live. This guide focuses on classical music, a tradition that originated before recordings, radio, and the Internet, back when all music was live music. In those days live human beings performed for other live human beings, with everybody together in the same room. When heard in this way, classical music can have a special excitement. Hearing classical music in a concert can leave you feeling refreshed and energized. It can be fun. It can be romantic. It can be spiritual. It can also scare you to death. Classical music concerts can seem like snobby affairs full of foreign terminology and peculiar behavior. It can be hard to understand what’s going on. It can be hard to know how to act. Not to worry. Concerts are no weirder than any other pastime, and the rules of behavior are much simpler and easier to understand than, say, the stock market, football, or system software upgrades. If you haven’t been to a live concert before, or if you’ve been baffled by concerts, this guide will explain the rigmarole so you can relax and enjoy the music. 2. THE LISTENER'S JOB DESCRIPTION Classical music concerts can seem intimidating. It seems like you have to know a lot. -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 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 ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you.