FLEX Editions Catalogue 2009
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Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
Brahms's Song Collections," in Brahms Studies: Analytical and Historical Perspectives, Ed
Brahms’s Song Collections: Rethinking a Genre by Daniel Brian Stevens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Theory) in The University of Michigan 2008 Doctoral Committee: Professor Kevin E. Korsyn, Chair Professor Walter T. Everett Associate Professor Johanna H. Prins Associate Professor Ramon Satyendra © Daniel Brian Stevens 2008 To Elizabeth and Olivia ii Acknowledgements This dissertation would not have been possible were it not for the generous support of many individuals. First and foremost, I would like to thank my advisor, Kevin Korsyn, whose keen insights and sensitive guidance fueled this project from its conception to its completion. I am grateful for the imaginative ideas that he freely shared with me throughout this process, ideas that were deeply formative both of this dissertation and of its author. It has been an inspiration to study with this consummate music scholar throughout my years at the University of Michigan. I owe an enormous debt of gratitude to the other members of my committee, each of whom responded to this project with enthusiasm and support. Five years ago, Walter Everett first drew me to the interpretive challenges and delights of studying song, and his valuable research in the area of text-music relations made an important contribution to my thinking. His close reading of and detailed responses to many of the ideas in this dissertation have yielded many suggestions for future research that will keep me busy for at least another five years. I have also benefited greatly from Ramon Satyendra’s refined musical and philosophical mind; his encouragement of my work and the unique perspective he brought to it enriched this project in innumerable ways. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.21.82. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2020 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.21.82 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home . -
Oh, Gently Lead Us. for Soprano Solo and Quartette. Harmonized and Adapted from a German Melody
Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor. New York: G. Schirmer, 1872. Abt., Franz. Boatman’s Song, Op. 174, No. 6. For voice and piano. Words by J. Oxenford. From “Franz Abt.” [s.l.]: W. F. Shaw, 1881. Cover features lithograph print by Century Lith. Co. Abt., Franz. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning a t the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMÏ Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction Is the best copy available UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE FRANZ LISZT’S SOLO PIANO MUSIC FROM HIS ROMAN PERIOD, 1862-1868 A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By DALE JOHN WHEELER Norman, Oklahoma 1999 UMI Number: 9941855 Copyright 1999 by Wheeler, Dale John All rights reserved. -
Genres Musicaux
Bibliothèque nationale de France Référentiel des formats INTERMARC Autorités et Bibliographique en production depuis novembre 2010 Genres musicaux Code à trois caractères indiquant à quel genre musical appartient l'œuvre qui fait l'objet d'une notice titre uniforme musical ou qui est contenue dans une ressource décrite dans une notice bibliographique de musique notée. Ce référentiel est celui d’UNIMARC (utilisé dans la zone 128) ; il permet un codage beaucoup plus précis, avec 600 codes contre 135 dans l’ancien référentiel à deux caractères d’INTERMARC. Ce référentiel s'applique : - dans la zone de longueur fixe 008 (zone d'informations générales codées) du format INTERMARC-A (position 18-20) ; - dans la zone de longueur fixe 009c (zone d'informations codées - musique imprimée et manuscrite) du format INTERMARC-B (position 15-17). CODE LIBELLÉ ### non renseigné abs absolutio acc accademia acl acclamatio acl laudes regiae => acclamatio. acm actus musicus agn Agnus Dei ai# air ai# air à chanter => air. ai# air à danser => air. ai# air de ballet => air. ai# air de cour => air. ai# ayre => air. ain air (instrumental) aka akathistos ala aube alb feuillet d'album alb feuille d'album => feuillet d'album. all alléluia alm allemande alm danse allemande => allemande. ame amener ame passeggiata => amener. an# anthem ana anagramma ane ante evangelium ant antienne app applauso app Singgedicht => applauso. ar# aria ara arabesque ari ariette ark aurresku ark baile real => aurresku. ark desafio => aurresku. ark eskudanza => aurresku. arn aria (instrumental) ars arioso aub aubade aub alba => aubade. 1 Bibliothèque nationale de France Référentiel des formats INTERMARC Autorités et Bibliographique en production depuis novembre 2010 CODE LIBELLÉ aub alborada => aubade. -
Exploring Literature Through Music: a Graduate Recital of Nineteenth-And Twentieth- Century Vocal Literature
Belmont University Belmont Digital Repository Recital Papers School of Music 5-1-2020 Exploring Literature Through Music: A Graduate Recital Of Nineteenth-And Twentieth- Century Vocal Literature Emily Kivi Belmont University, [email protected] Follow this and additional works at: https://repository.belmont.edu/music_recitals Part of the Music Performance Commons Recommended Citation Kivi, Emily, "Exploring Literature Through Music: A Graduate Recital Of Nineteenth-And Twentieth- Century Vocal Literature" (2020). Recital Papers. 2. https://repository.belmont.edu/music_recitals/2 This Scholarly Project is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. EXPLORING LITERATURE THROUGH MUSIC: A GRADUATE RECITAL OF NINETEENTH- AND TWENTIETH-CENTURY VOCAL LITERATURE By EMILY RUTH KIVI A RECITAL PAPER Submitted in partial fulfillment of the requirements for the degree of Master of Music in Vocal Performance in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE May 2020 Submitted by Emily Ruth Kivi in partial fulfillment of the requirements for the degree of Master of Music in Vocal Performance Accepted on behalf of the Graduate Faculty of the School of Music by the Mentoring Committee: _____________ ______________________________ Date Kristi Whitten, D.M. Major Mentor ______________________________ Mark Whatley, D.M.A. Second Mentor ______________________________ Robert Gregg, Ph.D. Third Mentor _____________ ______________________________ Date Kathryn Paradise, M.M. Assistant Director of School of Music, Graduate Studies ii Contents Acknowledgements .......................................................................................................... -
Keltische Briefe. Caernarfon, 21
XVII. Keltische Briefe. Caernarfon, 21. Aug. 1375. Ich bin hier ver schiedene Male gefragt worden wie ich nach Wales gekommen sei. Meine Geschichte ähnelt derjenigen von dem Manne welcher ein Hufeisen fand und sich ein Pferd dazu kaufte. Es ist der Gesundheit sehr dienlich regelmässig spazieren zu gehen, aber sehr lang weilig es allein zu thun, und an dem einen Orte lang weiliger als an dem andern; ich hatte das Glück einen Gefährten für diese tägliche Arbeit zu gewinnen, und es traf sich dass es ein Kymre war; ich lernte daher von ihm mit der Zeit auf Kymrisch sagen: „Wenn es beliebt“ und „Es ist sehr schönes Wetter“ und dergleichen mehr. Was konnte ich mit dieser sauer erworbenen kleinen Münze in Deutschland anfangen? Um sie an den Mann zu bringen, beschloss ich nach Wales zu reisen. Eines Abends fuhr ich aus der grossen Kleinstadt welche am Gendarmenmarkt liegt, ab und war am andern Morgen in Rotterdam. Hier rastete ich einen Tag und berichtigte meine Vorstellung von den Hol ländern wie sie sich aus Theaterstücken und älteren Jahrgängen der „Fliegenden Blätter“ bei mir festgesetzt hatte. Mein Besuch fiel gerade in die Zeit der Kirmess, des Hauptfestes von Rotterdam, das etwa ein Dutzend 318 Tage zu dauern scheint. Alles machte vergnügte Gesichter, nur der Himmel nicht, zu dem doch die Orgeln in allen Tonarten emporschrieen. Bäuerinnen in Menge stolzierten umher; Hauben von Goldblech verdeckten das Haar, und von den Schläfen stachen grosse goldene Korkzieher spitz in die Luft. Das kühne Bild der morgenländischen Dichter, denen zufolge die Schönen an ihren Locken die Herzen der Männer aufspiessen, drohte hier sich zu verwirklichen. -
Cambridge University Press 978-0
Cambridge University Press 978-0-521-51348-7 — The Cambridge History of Medieval Music 2 Volume Hardback Set Edited by Mark Everist , Thomas Forrest Kelly Index More Information Index Aachen, 791 Alanus, Johannes Council of, 181, 640 “Sub Arturo plebs/Fons/In omnem”, Palatine Chapel, 639, 640, 654 705, 711 Aaron, 37 alba, 384, 386, 398 Abano, Petrus de Alberti family, 1092 Expositio problematum Aristotelis, Albi 453 cathedral of Sainte-Cécile, 311 Abelard, Peter, 188, 190, 1033–34 Albigensians, 781 “Dolorum solatium”, 1034, 1037 Albigensian Crusade, 1057 “O quanta qualia”, 1034 alchemy, 358, 368 Abraham, 512 Aldhelm, Bishop of Sherborne, 648 Abruzzi, 1108 Alexandria, 464 Absolutism, 1180 Alexandria, Philo of, 46 Acart de Hesdin, Jehan Al-Fārābī,Abū Nas:r Muh: ammad ibn Prise amoureuse, 1163 Muh: ammad acrostic, 786, 942, 954, 1102, 1103, 1137, kitāb al-mūsīqī al-kabīr (“Grand Book on 1168 Music”), 366 Adam, Abbot of St Victor, Paris, 349 Alfonso V (“the Magnanimous”), King of Adam and Eve, Fall of, 156 Aragon, 456, 465 admixtio, 847 Alfonso X, king of Castile and León, 382, admonitio, 1006 392, 410–11, 734 Adoration of the Cross, 100 Alia musica, 650 Advent, 70, 93, 99, 106, 107, 109, 127, 141, Alighieri, Dante, 412 142, 268, 289, 325, 331, 481 Al-Kindī, Abu Yūsuf Yaʻqūb ibn ʼIsh: āqas:- Advent plays, 511 S:abbāh: , 366 aere gallico, 695 All Saints, 106, 855 aere italico, 695 allegory, 959, 1002, 1057, 1160 aerophones, 454 Alleluia, 69, 75, 76, 92, 94, 102, 109, 127, horns and trumpets, 461–62 128, 131, 134, 135, 139, 144, 148, pipes,