Glenn Gould – Primary Wave Music

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GLENN GOULD open.spotify.com/artist/13dkPjqmbcchm8cXjEJQeP facebook.com/glenngould en.wikipedia.org/wiki/Glenn_Gould Glenn Herbert Gould (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and celebrated classical pianists of the 20th century. He was renowned as an interpreter of the keyboard works of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music. ARTIST: TITLE: ALBUM: LABEL: CREDIT: YEAR: Glenn Gould Baetoven (feat. Ro Joaquim) Uninvited Guests Sony A 2020 Glenn Gould Mackin' - (Ice Cold) (feat. Dope Fa$e) Uninvited Guests Sony A 2020 Glenn Gould Change Interlude Uninvited Guests Sony A 2020 Glenn Gould Better (feat. AARYS) Uninvited Guests Sony A 2020 Glenn Gould Easy (feat. Kiki Rowe) Uninvited Guests Sony A 2020 Glenn Gould Gettin' That (feat. Chief Awuah) Uninvited Guests Sony A 2020 Glenn Gould No Roses (feat. Your Hunni, AARYS & Ro Uninvited Guests Sony A 2020 Joaquim) Glenn Gould Goodnight (feat. Gabriel Pick & Your Hunni) Uninvited Guests Sony A 2020 Glenn Gould Redlight Uninvited Guests Sony A 2020 Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Bach: The Goldberg Variations, BWV 988 (1981 Recording, Sony Classical A 1981 Aria Remastered) Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Bach: The Goldberg Variations, BWV 988 (1981 Recording, Sony Classical A 1981 Aria da capo Remastered) Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 28 a 2 Sony Classical A 1981 Aria da capo Clav. Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 10 a 1 Sony Classical A 1981 Aria da capo Clav. Fughetta Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 12 Sony Classical A 1981 Aria da capo Canone alla Quarta Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 21 Sony Classical A 1981 Aria da capo Canone alla Settima Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 8 a 2 Sony Classical A 1981 Aria da capo Clav. Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 16 a 1 Sony Classical A 1981 Aria da capo Clav. Overture Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 18 a 1 Sony Classical A 1981 Aria da capo Clav. Canone alla Sesta Glenn Gould Goldberg Variations, BWV 988 (1981 Recording): Goldberg Variations, BWV 988 (1981 Recording): Variation 14 a 2 Sony Classical A 1981 Aria da capo Clav..

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Howard Dyck Reflects on Glenn Gould's The
“What you intended to say”: Howard Dyck Reflects on Glenn Gould’s The Quiet in the Land Doreen Helen Klassen The Quiet in the Land is a radio documentary by Canadian pianist and composer Glenn Gould (1932-82) that features the voices of nine Mennonite musicians and theologians who reflect on their Mennonite identity as a people that are in the world yet separate from it. Like the other radio compositions in his The Solitude Trilogy—“The Idea of North” (1967) and “The Latecomers” (1969)—this work focuses on those who, either through geography, history, or ideology, engage in a “deliberate withdrawal from the world.”1 Based on Gould’s interviews in Winnipeg in July 1971, The Quiet in the Land was released by the Canadian Broadcasting Corporation (CBC) only in 1977, as Gould awaited changes in technology that would allow him to weave together snatches of these interviews thematically. His five primary themes were separateness, dealing with an increasingly urban and cosmopolitan lifestyle, the balance between evangelism and isolation, concern with others’ well-being in relation to the historic peace position, and maintaining Mennonite unity in the midst of fissions.2 He contextualized the documentary ideologically and sonically by placing it within the soundscape of a church service recorded at Waterloo-Kitchener United Mennonite Church in Waterloo, Ontario.3 Knowing that the work had received controversial responses from Mennonites upon its release, I framed my questions to former CBC radio producer Howard Dyck,4 one of Gould’s interviewees and later one of his 1 Bradley Lehman, “Review of Glenn Gould’s ‘The Quiet in the Land,’” www.
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American Masters 200 List Finaljan2014
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Finding Music in Mirlyn
Finding Music in Mirlyn Mirlyn is the online catalog of the University of Michigan Libraries. It gives you access to the catalogs of the University Library, as well as the Clements Library, Bentley Historical Library, and University of Michigan-Flint Library. Basic Search The Basic Search screen appears when you enter Mirlyn. The default search is a “Word(s) anywhere” search. This is the most general and comprehensive search, as it looks for your keyword wherever it occurs in the catalog record – in the author, title, publisher, subject, notes, and other fields. In addition to keyword searching, you may also search by title, author, subject, journal name, and call number from the Basic Search screen. Browse Both the Basic Search and the Browse modes (located on the yellow bar toward the top of the screen) allow you to “browse” within the catalog. Browse commands usually contain the words “begins with,” as in “Title begins with…” or “Call number begins with…” A browse results in an alphabetical or numerical (in the case of a call number search) list with your search term or the nearest match in the second position. For example, a “journal/serial name begins with” search on “rolling stone” retrieves the following: Advanced Search Advanced searching allows you to search by multiple parameters (e.g., author and title) at the same time. It also allows you to limit your search by format, language, location, and years; these options appear on the bottom half of the search screen. The following example is a subject search on “jazz” that has been limited to DVDs held by the Music Library: 2 Searching for Music When looking for music scores or recordings, “words anywhere” (aka keyword) searching is recommended.
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Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.
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Record Albums
Out of Bounds •I SOMETHING COMPLETELY DIFFERENT record albums have one word for you - GOING THROUGH YOUR STACKS OF WAX ISN'T JUST NOSTALGIC - vinyl. Also known as Long- Playing records. Remember IT'S A MUSIC LOVERS NIRVANA BY MARK LUCE those black frisbees you grew up spinning non-stop on some beat-up turntable, ever mindful of accumulating dust, things about being reintroduced to Nova. Indispensible. $ 11.46 at Iscratches and the quality of the needle. records, the first thing you'll notice is (www. musicstack. corn). In todays Napster world, vinyl is that you actually listen to the record- • John Coltrane — Blue Train. His an afterthought. Most kids under 20 ings, rather than merely having music first record on Blue Note. $6.99 at look askance when they hear the word on in the background. But whether (www.gatefoldrecords. com). "album." Why buy something that oc- you jam to jazz, roll to rock or chime • Led Zeppelin — Houses of the cupies so much space and is more deli- to classical, it is possible to Holy. Give no quarter to this hallmark cate than John Daly's build an impressive rock recording. $8 at temperament? collection of vinyl (www.platterpus. com). I'll tell them for one-half to • Glenn Gould — Goldberg Varia- why: The sound one-third the tions. Bach for the brainy. $8.23 at produced by the cost of a (www. cyrcomusic. com). grooves on a vinyl $17.98 CD. • Elvis Costello — Armed Forces. album is still richer, It will take One of the Brit's finest.
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Glenn Gould in the Style of Thuggish Lunatics, Smashing Were a Series of Uneven Releases, Long Hia
TEACHING WITH IN TUNE I C O N GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG WHO: Rock quartet from London, England WHAT: One of the essential acts of the original 1960s British Invasion; loud, lyrical, and ambitious WHEN: Formed in 1964, still active in 2017, even after losing two key members and matured into one of the towering songwriters of the time. With their 1969 “rock opera” Tommy, the Who showed they could make a conceptually uni- BY PETER GERSTENZANG ed album that brought in elements of classical music ICONOGRAPHY and told a story—a strange ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG tale about a deaf, dumb, The Who and blind boy who mirac- Singer and ulously regains his senses GREAT MUSICIANS IN HISTORY WHO: OR THE FIRST 10 years of their existence, the Who and becomes a prophet—while never WHO: Classical pianist ICON electric guitar player A gospel and thrillingly stretched the boundaries of rock, becoming sounding pretentious. WHAT: A brilliant, if eccentric, WHAT: The music only improved from there musical interpreter who R&B pioneer who may one of the most important and in uential British bands redeﬁ ned how a classical just be the mother of F with the 1971 masterpiece Who’s Next and HE ARGUMENT rock music musician could play, record, Born Mar. 20, of the ’60s, along with the Beatles and the Rolling Stones. a second rock opera, 1973’sQuadrophenia, act, and look about who was WHEN: which told stories of both the mods and BY PETER GERSTENZANG 1915, Cotton Plant, After a brief stint as the Detours, gui- WHEN: Born Sept.
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Mental Representations in Clarinet Performance : Connections
ALLEN, DAVID REED, D.M.A. Mental Representations in Clarinet Performance: Connections Between Auditory Imagery and Motor Behaviors. (2007) Directed by Dr. Kelly J. Burke. 37 pp. The purpose of this study was: (a) to investigate the relationship between auditory imagery and representations for action in musical performance and (b) to discuss implications for clarinet playing. The literature reviewed establishes the importance of auditory imagery in instrumental music performance, the importance of mental representations for execution of necessary motor actions in music performance and a possible link between the two. Research is presented which supports the notion that representations of expected sensory feedback may have a role in controlling voluntary motor actions. Expected sensory feedback in musical performance is the auditory image of the desired performance and the proprioceptive feedback from performing the actions necessary for manipulating a musical instrument. The document concludes with a discussion of the implications of these findings for clarinet playing. Clarinetists must to be able to anticipate the sound they desire to produce and have a corresponding action representation that includes the corresponding feel. While this study focused primarily on clarinet performance, the concepts can easily be applied to all types of musical performance. Musicians need to connect the sound they desire with a "feel" they know will produce that sound. MENTAL REPRESENTATIONS IN CLARINET PERFORMANCE: CONNECTIONS BETWEEN AUDITORY IMAGERY AND MOTOR BEHAVIORS by David Reed Allen A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2007 Approved by ____________________________________ Committee Chair © 2007 by David Reed Allen APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
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Performance As a Master Narrative in Music History
Roundtable: Performance as a Master Narrative in Music History DANIEL BAROLSKY, SARA GROSS CEBALLOS, REBECCA PLACK, AND STEVEN M. WHITING The Editors or a Roundtable in this issue the Editors invited musicologists from various institutions to engage in an e-mail conversation with Daniel F Barolsky over the summer of 2012 to discuss the how music historians engage students with issues of performance in their classes. As Barolsky states in his opening essay “The music in our existing histories is restricted to past compositions, as mere museum artifacts. Yet the identities of the wonderful performers who brought these pieces to life (and many of whom we can still see and hear today!) are relegated to the liner notes, their presence and inter- pretive contribution repressed and ignored.” Are there ways we can enrich, transform, or adapt our teaching to focus more on a history of performance? Would such a change be more meaningful to our students, most of whom see themselves as young performers, rather than as young composers? What new questions, discussions, and course assignments would arise from such changes? The Editors invited musicologists who teach at a variety of schools (small liberal arts college, conservatories of various sizes and locations, and large state schools) to discuss the issue of teaching about music performance in music history courses and to share their thoughts and experiences about their work in this area. Daniel Barolsky began the conversation with an opening essay to which the panel responded by e-mail during the summer of 2012.1 Among the several threads that develop are questions about the choices for recordings of the score anthologies that accompany textbooks, the differences between teaching a survey for undergraduates and an advanced seminar, and teaching suggestions that address performance more clearly—such as 1.
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Glen Gould Scriabin Prokofiev Sp Corner
Scriabin Piano Sonata No.3 in F sharp minor, Op.23 Prokofiev Piano Sonata No.7 in B flat minor, Op.83 Glenn Gould (piano) Recorded at Columbia 30th Street Studio during July 1967 and January, February and June 1968 Producer: Andrew Kazdin Sound Engineers: Fred Plaut and Milton Cherin Speakers Corner 180gm LP: MS 7173 Performance: 3/4/5 Glen Gould isn’t usually associated with Russian music, so this Speakers Corner LP is an intriguing prospect. In both works Vladimir Horowitz (HMV LP and Original Jackets) has been used for comparison. The Drammatico first movement of Scriabin’s Third Sonata has an opening metronome marking of sixty four quarter notes; here Gould is suitably measured, which enables him to convey some of the mood of quiet melancholy that underpins the work, he uses old-school tempo and dynamic variation, rubato, discrete pedal control and will highlight an inner voice or rhythm. Given that in Bach and music of the Classical period Gould was often noted for his brisk tempi, it may come as a surprise to find that he ignores the last movements Presto con fuoco marking and underplays the difference between the Allegretto and Andante movements. Nevertheless this is a powerful - if somewhat emotionally detached - account of an under-rated masterwork Prokofiev’s Seventh is probably his best known sonata and again the word power best describes Gould’s approach to the work. He pounds out the opening theme, yet relaxes for the second thematic group, but then ruins everything with a loud, brutal account of the Andante caloroso slow movement; which is a pity, because his fast and furious boogie- woogie approach to the finale is compelling.
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The Rockport Chamber Music Festival Returns with “Source & Inspiration”
BARRY SHIFFMAN, artistic director CONTACT: Karen Herlitz, Director of Marketing [email protected] Phone: 978-546-7391, Ext. 110 DATE: February 19, 2019 The Rockport Chamber Music Festival returns with “Source & Inspiration” After a spectacularly successful first festival as artistic director, Barry Shiffman builds on what the Boston Globe hailed as a “… launch of a season that seems poised to hit the paradoxical sweet spot of remaining true to the festival’s roots while carrying it somewhere entirely new.” The 2019 Rockport Chamber Music Festival will be held June 14-July 14, 2019, and continues with two Festival Annex concerts in August which feature the incomparable duo David Finckel and Wu Han and the lauded Handel & Haydn Society presenting Bach’s complete Brandenburg Concerti. Threading throughout the Festival this year will be the theme of “Source and Inspiration.” Artistic Director Barry Shiffman shares insight on this year’s theme: “Nothing comes from nothing.” This summer we shine a light on the creative process of Source and Inspiration. In a wide range of programs, our audience will follow a journey that peels back the layers, letting us peek into that creative process. Whether it is seeing a drawing, reading a text, hearing a rhythm, or even being enamored with a personality, inspiration abounds. The potential for inspiration is around us all every day. While the festival will explore the many sources that inspired composers and performers, it should also serve as a deep well of inspiration for all who attend the festival events. The Festival is anchored by 19 concerts in the performance hall with additional informal performances woven throughout the Festival including late night classical cabarets on the third floor and Pop-up performances in the community.
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Luiz De Carvalho Duarte OS ARRANJOS DE CLAUS OGERMAN NA OBRA DE TOM JOBIM
Luiz de Carvalho Duarte OS ARRANJOS DE CLAUS OGERMAN NA OBRA DE TOM JOBIM: REVELAÇÃO E TRANSFIGURAÇÃO DA IDENTIDADE DA OBRA MUSICAL Universidade de Brasília – DF 2010 OS ARRANJOS DE CLAUS OGERMAN NA OBRA DE TOM JOBIM: REVELAÇÃO E TRANSFIGURAÇÃO DA IDENTIDADE DA OBRA MUSICAL Luiz de Carvalho Duarte Dissertação de Mestrado realizada sob orientação da Profª. Drª. Maria Alice Volpe e apresentada à Banca examinadora para defesa, em 26 de julho de 2010, como requisito parcial para a obtenção do título de Mestre em Música - Programa de Pós-Graduação “Música em Contexto”, Universidade de Brasília. Universidade de Brasília – DF 2010 ii OS ARRANJOS DE CLAUS OGERMAN NA OBRA DE TOM JOBIM: REVELAÇÃO E TRANSFIGURAÇÃO DA IDENTIDADE DA OBRA MUSICAL Luiz de Carvalho Duarte Dissertação de Mestrado submetida ao Programa de Pós-graduação em Música da Universidade de Brasília - UnB, como parte dos requisitos necessários à obtenção do título de Mestre em Música. Aprovada por: Profa. Dra. Maria Alice Volpe Prof. Dr. Claudiney Carrasco Profa. Dra. Beatriz Magalhães Castro Universidade de Brasília – DF 2010 iii Dedico a presente pesquisa a Sidney “Gamela” Barros e Vittor Santos, dois grandes professores de fundamental importância para minha formação. iv AGRADECIMENTOS À minha família. A Amanda Midôri Amano. À Profa. Dra. Maria Alice Volpe, pela orientação e incentivo em diversos momentos da pesquisa. Ao Instituto Antonio Carlos Jobim, cujo acervo de partituras, gentilmente disponibilizado na Internet, foi de fundamental importância para a viabilização desta pesquisa. A Paulo Jobim, presidente do Instituto Antonio Carlos Jobim, cuja entrevista ajudou a definir os rumos deste trabalho. Ao Prof.
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