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Boston Symphony Orchestra Concert Programs, Summer, 1946
TANGLEWOOD — LENOX, MASSACHUSETTS SYMPHONY BERKSHIRE FESTIVAL SERGE KOUSSEVITZKY, Conductor Series B AUGUST 1, 3, 4 STEIItWAV it vm Since fhe time of Liszt, the Sfeinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa Elman and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — fhey cannot afFord otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST.. BOSTON Jerome F. Murphy, Prasic/enf • Also Worcester and SpHngfieid MUSIC SHED TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) NINTH BERKSHIRE FESTIVAL SEASON 1 946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, IflC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens -
The Meshuggah Quartet
The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs . -
Class Piano Handbook
CLASS PIANO HANDBOOK THE UNIVERSITY OF TENNESSEE, KNOXVILLE COLLEGE OF ARTS & SCIENCES SCHOOL OF MUSIC DR. EUNSUK JUNG LECTURER OF PIANO COORDINATOR OF CLASS PIANO TABLE OF CONTENTS GENERAL INFORMATION 3 CONTACT INFORMATION 4 COURSE OBJECTIVES CLASS PIANO I & II 5 CLASS PIANO III & IV 6 ACTIVITIES AND SKILLS INCLUDED IN CLASS PIANO 7 PIANO LAB POLICIES 8 GUIDELINES FOR EFFECTIVE PRACTICE 9 TESTING OUT OF CLASS PIANO 11 KEYBOARD PROFICIENCY TEST REQUIREMENTS CLASS PIANO I (MUKB 110) 12 CLASS PIANO II (MUKB 120) 13 CLASS PIANO III (MUKB 210) 14 CLASS PIANO IV (MUKB 220) 15 FAQs 16 UTK CLASS PIANO HANDBOOK | 2 GENERAL INFORMATION Class Piano is a four-semester course program designed to help undergraduate non- keyboard music majors to develop the following functional skills for keyboard: technique (scales, arpeggios, & chord progressions), sight-reading, harmonization, transposition, improvisation, solo & ensemble playing, accompaniment, and score reading (choral & instrumental). UTK offers four levels of Class Piano in eight different sections. Each class meets twice a week for 50 minutes and is worth one credit hour. REQUIRED COURSES FOR MAJORS Music Education with Instrumental MUKB 110 & 120 Emphasis (Class Piano I & II) Music Performance, Theory/Composition, MUKB 110, 120, 210, & 220 Music Education with Vocal Emphasis (Class Piano I, II, III, & IV) CLASS PIANO PROFICIENCY EXAM Proficiency in Keyboard skills is usually acquired in the four-semester series of Class Piano (MUKB 110, 120, 210, & 220). To receive credit for Class Piano, students must register for, take, and pass each class. Students who are enrolled in Class Piano will be prepared to meet the proficiency requirement throughout the course of study. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating
Guitar/Keyboard/Harmonizing Instruments Harmonizing a Melody Proficient for Creating Intent of the Model Cornerstone Assessments Description of the MCA Model Cornerstone Assessments (MCAs) in music assessment Students will harmonize a recorded frameworks to be used by music teachers within their school’s major (do-based) pentatonic folk curriculum to measure student attainment of process song by analyzing the melody components defined by performance standards in the National aurally and from written notation. Core Music Standards. They focus on one or more Artistic Using previously learned chords, Process (i.e., Creating, Performing, or Responding) and students will individually plan a designed as a series of curriculum-embedded assessment tasks, harmonic accompaniment that each of which measures students’ ability to carry out one or best fits the melody, notate their more process components. The MCAs can be used as formative harmonization using an analysis and summative indications of learning, but do not indicate system (e.g., chord letter names, quality of teaching or effectiveness of a school’s music program. functional harmony), and rhythmic accompanying patterns (e.g. Although each MCA is designed so that it can be administered strumming patterns, block chords, within an instructional sequence or unit, teachers may choose and arpeggios). Finally, students to spread the component parts of one MCA across multiple will present their harmonization to units or projects. Student work produced by the national pilot is a peer or group of peers, and available on the NAfME website that illustrates the level of thoughtfully respond to a achievement envisioned in the National Core Music Standards. -
Guidance for Measure Harmonization
Measure Harmonization Guidance for Measure Harmonization A CONSENSUS REPORT National Quality Forum The National Quality Forum (NQF) operates under a three-part mission to improve the quality of American healthcare by: • building consensus on national priorities and goals for performance improvement and working in partnership to achieve them; • endorsing national consensus standards for measuring and publicly reporting on performance; and • promoting the attainment of national goals through education and outreach programs. This project is funded under NQF’s contract with the Department of Health and Human Services, Consensus-based Entities Regarding Healthcare Performance Measurement. Recommended Citation: National Quality Forum (NQF), Guidance for Measure Harmonization: A Consensus Report, Washington, DC: NQF; 2010. © 2010. National Quality Forum All rights reserved ISBN 978-0-9828421-4-0 No part of this report may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the National Quality Forum. Requests for permission to reprint or make copies should be directed to: Permissions National Quality Forum 601 13th Street NW Suite 500 North Washington, DC 20005 Fax 202-783-3434 www.qualityforum.org Guidance for Measure Harmonization: A Consensus Report Table of Contents Introduction ............................................................................................................ 1 Purpose ............................................................................................................. -
Graduate Music Theory Exam Preparation Guidelines
Graduate Theory Entrance Exam Information and Practice Materials 2016 Summer Update Purpose The AU Graduate Theory Entrance Exam assesses student mastery of the undergraduate core curriculum in theory. The purpose of the exam is to ensure that incoming graduate students are well prepared for advanced studies in theory. If students do not take and pass all portions of the exam with a 70% or higher, they must satisfactorily complete remedial coursework before enrolling in any graduate-level theory class. Scheduling The exam is typically held 8:00 a.m.-12:00 p.m. on the Thursday just prior to the start of fall semester classes. Check with the Music Department Office for confirmation of exact dates/times. Exam format The written exam will begin at 8:00 with aural skills (intervals, sonorities, melodic and harmonic dictation) You will have until 10:30 to complete the remainder of the written exam (including four- part realization, harmonization, analysis, etc.) You will sign up for individual sight-singing tests, to begin directly after the written exam Activities and Skills Aural identification of intervals and sonorities Dictation and sight-singing of tonal melodies (both diatonic and chromatic). Notate both pitch and rhythm. Dictation of tonal harmonic progressions (both diatonic and chromatic). Notate soprano, bass, and roman numerals. Multiple choice Short answer Realization of a figured bass (four-part voice leading) Harmonization of a given melody (four-part voice leading) Harmonic analysis using roman numerals 1 Content -
"A Composer's View" in "Music Librarianship in America, Part 4: Music Librarians and Performance"
"A composer's view" in "Music librarianship in America, Part 4: Music librarians and performance" The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Babbitt, Milton. 1991. "A composer's view" in "Music librarianship in America, Part 4: Music librarians and performance". Harvard Library Bulletin 2 (1), Spring 1991: 123-132. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661672 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 123 A Composer's View Milton Babbitt ince we are gathered in this hall in a spirit of scholarly inquiry, celebrating the S central instrument of such inquiry, I think I can best begin-at least, I dare to begin-by posing a question: "What am I doing here?" I do not come here as a scholar, I come here as a composer. If I seem to be somewhat aporetic, I assure you it is not because I feel in the presence of so many librarians the way Wystan Auden once said he felt in the presence of scientists. He said that he felt like a ragged mendicant in the presence of merchant princes. Well, I don't feel that way: I sim- ply feel like a ragged mendicant. The aporia actually results from pondering the complex problem that must have beset the planning committee in choosing speakers. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Transfer Theory Placement Exam Guide (Pdf)
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide! Texas woman’s university ! ! 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This! guide is meant to help graduate and transfer students prepare for the Graduate/ Transfer Theory Placement Exam. This evaluation is meant to ensure that students have competence in basic tonal harmony. There are two parts to the exam: written and aural. Part One: Written Part Two: Aural ‣ Four voice part-writing to a ‣ Melodic dictation of a given figured bass diatonic melody ‣ Harmonic analysis using ‣ Harmonic Dictation of a Roman numerals diatonic progression, ‣ Transpose a notated notating the soprano, bass, passage to a new key and Roman numerals ‣ Harmonization of a simple ‣ Sightsinging of a melody diatonic melody that contains some functional chromaticism ! Students must achieve a 75% on both the aural and written components of the exam. If a passing score is not received on one or both sections of the exam, the student may be !required to take remedial coursework. Recommended review materials include most of the commonly used undergraduate music theory texts such as: Tonal Harmony by Koska, Payne, and Almén, The Musician’s Guide to Theory and Analysis by Clendinning and Marvin, and Harmony in Context by Francoli. The exam is given prior to the beginning of both the Fall and Spring Semesters. Please check the TWU MUSIc website (www.twu.edu/music) ! for the exact date and time. ! For further information, contact: Dr. Paul Thomas Assistant Professor of Music Theory and Composition [email protected] 2 2016-17 ! ! ! ! table of Contents ! ! ! ! ! 04 Part-Writing ! ! ! ! ! 08 melody harmonization ! ! ! ! ! 13 transposition ! ! ! ! ! 17 Analysis ! ! ! ! ! 21 melodic dictation ! ! ! ! ! harmonic dictation ! 24 ! ! ! ! Sightsinging examples ! 28 ! ! ! 31 terms ! ! ! ! ! 32 online resources ! 3 PART-Writing Part-writing !Realize the following figured bass in four voices. -
Eichler Columbia 0054D 12688.Pdf
The!Emancipation!of!Memory:!! ! Arnold!Schoenberg!and!the!Creation!of! A"Survivor"from"Warsaw" ! ! ! ! ! ! Jeremy!Adam!Eichler! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Submitted!in!partial!fulfillment!of!the!! requirements!for!the!degree!of!! Doctor!of!Philosophy! in!the!Graduate!School!of!Arts!and!Sciences! ! ! COLUMBIA!UNIVERSITY! ! 2015! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©!2015! Jeremy!Adam!Eichler! All!rights!reserved! ! ABSTRACT! ! The!Emancipation!of!Memory:!! Arnold!Schoenberg!and!the!Creation!of!A"Survivor"from"Warsaw! ! ! Jeremy!Eichler!! ! ! This!is!a!study!of!the!ways!in!which!the!past!is!inscribed!in!sound.!It!is!also!an! examination!of!the!role!of!concert!music!in!the!invention!of!cultural!memory!in!the!wake!of! the!Second!World!War.!And!finally,!it!is!a!study!of!the!creation!and!early!American!reception! of!A"Survivor"from"Warsaw,!a!cantata!written!in!1947!that!became!the!first!major!musical! memorial!to!the!Holocaust.!It!remains"uniquely!significant!and!controversial!within!the! larger!oeuvre"of!its!composer,!Arnold!Schoenberg!(1874]1951).!! Historians!interested!in!the!chronologies!and!modalities!of!Holocaust!memory!have! tended!to!overlook!music’s!role!as!a!carrier!of!meaning!about!the!past,!while!other!media!of! commemoration!have!received!far!greater!scrutiny,!be!they!literary,!cinematic,!or! architectural.!And!yet,!!A"Survivor"from"Warsaw"predated!almost!all!of!its!sibling!memorials,! crystallizing!and!anticipating!the!range!of!aesthetic!and!ethical!concerns!that!would!define! the!study!of!postwar!memory!and!representation!for!decades!to!come.!It!also!constituted!a! -
200 Da-Oz Medal
200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp.