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Braids of Song Gwead Y Gân
Braids of Song Gwead y Gân by Mari Morgan BMus (Hons), MA. Supervised by: Professor Menna Elfyn and Dr Jeni Williams Submitted in partial fulfilment for the award of the degree of Doctor of Philosophy in Creative Writing University of Wales Trinity Saint David 2019 Er cof am fy nhad, Y Parchedig E D Morgan a ddiogelodd drysor. In memory of my father, the Reverend E D Morgan who preserved a treasure. iii ACKNOWLEDGEMENTS With grateful thanks for the generous support of: North America Wales Foundation (Dr Philip Davies and Hefina Phillips) Welsh Women’s Clubs of America (Barbara Crysler) Welsh Society of Philadelphia (Jack R. Williams, Jr.) Diolch o galon: for the experience and guidance of my supervisors, Professor Menna Elfyn and Dr Jeni Williams, for the friendship and encouragement of Karen Rice, for my siblings always, Nest ac Arwel, for the love and steadfast support of Lisa E Hopkins, and for the unconditional love of my mother, Thelma Morgan. Diolch am fod yn gefn. iv Abstract The desire to recognise the richness, humanity, and cross fertilisation of cultures and identities that built today’s America is the starting point for Braids of Song. Its overarching concerns trace the interrelation between immigration, identity and creativity within a Welsh Trans-Atlantic context. Braids of Song is a mixed-genre collection of stories that acknowledges the preciousness of culture; in particular, the music, which is both able to cross different linguistic boundaries and to breach those between melody and language itself. The stories are shared through four intertwined narrative strands in a mixture of literary styles, ranging from creative non-fiction essays and poems to dramatic monologues. -
NABMSA Reviews a Publication of the North American British Music Studies Association
NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination. -
SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Myfanwy Mynyddog (Richard Davies), Joseph Parry
CANTABILE – THE LONDON QUARTET THE GREAT BRITISH A CAPPELLA SONGBOOK EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 1 110/8/20120/8/2012 1:06:361:06:36 PPMM Cantabile − The London Quartet is managed by artist management A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin. Arranged by Cantabile − The London Quartet. © 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA. Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved. Pomp and Circumstance by Edward Elgar. Words © 2012 by Margarete and Julian Forsyth. Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet. © Copyright 2012 by Cantabile − The London Quartet. All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet. Peters Edition Limited 2−6 Baches Street London N1 6DN Tel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: [email protected] Internet: www.editionpeters.com CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 2 110/8/20120/8/2012 1:07:041:07:04 PPMM CONTENTS Foreword . 4 Vorwort . 5 About the Songs . 6 Über die Stücke . 8 Pastime with Good Company King Henry VIII of England . 11 Greensleeves Traditional English . 14 Oranges and Lemons Traditional English . 22 Myfanwy Mynyddog (Richard Davies), Joseph Parry . 30 Danny Boy, ‘I Would be True’ Traditional Irish (Londonderry Air) Frederic E. Weatherly, Howard Walter . 35 A Man’s a Man for A’ That Traditional Scottish / Robert Burns (‘Lady McIntosh’s Reel’) . -
Download Booklet
A KNIGHT’S PROGRESS A KNIGHT’S PROGRESS According to the rubric in the service book for the 1953 Coronation, the Queen, as soon as 1 I was glad Hubert Parry (1848-1918) [4.57] Born in the seaside town of Bournemouth, Sir she entered at the west door of the Church, 2 The Twelve William Walton (1902-1983) [11.49] Charles Hubert Hastings Parry went on to study was to be received with this anthem and, while Soloists: Oscar Simms treble at Eton and then at Oxford University where it was being sung, she was to pass through Benedict Davies treble Tom Williams alto he subsequently became Professor of Music. the body of the Church, into and through the Thomas Guthrie tenor From 1895 until his death he was also Director Choir, and up to her Chair of Estate beside Christopher Dixon bass of the Royal College of Music in London. He the Altar. On that occasion the Queen’s Our present charter * Nico Muhly (b.1981) wrote music of all kinds, including an opera, Scholars of Westminster School led the choir 3 I. First [4.02] symphonies, chamber and instrumental music, in singing the central section of this anthem – 4 II. Thy Kingdome Come, O God [4.21] oratorios and church music. However, he is ‘Vivat Regina Elizabetha!’ – a section that 5 III. The Beatitudes [4.22] perhaps best known nowadays for his famous nowadays is ususally omitted in concert 6 IV. Nullus Liber Homo Capiatur [4.45] setting of William Blake’s poem, Jerusalem. performances, as it is on this recording. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
Theatre, Film and Television Studies
Department of Theatre, Film and Television Studies Undergraduate studies in Theatre, Film and Television Studies 1 Contents Welcome Welcome p.1 As one of the few interdisciplinary departments of its kind in the UK, the Department of Theatre, Welcome from a former student p.2 Film and Television Studies has a distinct and unique location on the west coast of Wales, where we are able to provide high-quality, focused learning, teaching and research opportunities to Department facilities p.3 students from across the globe. Our courses p.4 Studying through the medium of Welsh p.19 We offer integrated schemes of study, combining the creative and the We are also proud of our well-established and active relationships Industry links p.20 critical approaches to all disciplines through innovative practical work with key industry partners, such as the BBC (studios situated within Research p.21 and challenging scholarly enquiry. You will gain intellectual, practical the department’s Parry Williams Building), S4C, BAFTA Cymru, Fiction and transferable skills that will prepare you for a variety of careers in Factory, the British Council Wales and Wales Arts International. Global opportunities p.22 the creative industries and other fields. In this brochure , we give you a taste of what we can offer and invite How to apply p.24 Many of the teaching staff are leading professionals working in the you to visit us at the Department of Theatre, Film and Television fields of Scenography, Theatre, Film and Media as well as being active Studies. researchers working at the cutting edge of their disciplines. -
The Parish of All Saints • Ashmont Liturgical Music
The Parish of All Saints • Ashmont Liturgical Music October 6 The Twentieth Sunday after Pentecost Late Pentecost through Christmas 2013 Communion Service in A minor – Harold Darke The Rev’d Michael J. Godderz, Rector Psalm 37:3-10 Anglican Chant: Joseph Barnby Andrew P. Sheranian, Organist and Master of Choristers Ave verum corpus – Richard Dering Organ Christian Haigh, Organ Scholar Prière à Notre Dame (Suite Gothique) – Léon Boëllmann Michael Raleigh, Archibald T. Davison Fellow Toccata in B minor – Eugène Gigout October 13 The Twenty-First Sunday after Pentecost September 15 The Seventeenth Sunday after Pentecost Missa Brevis – Andrea Gabrieli Communion Service in B minor – T. Tertius Noble Psalm 113 Anglican Chant: Thomas Walmisley Psalm 51:1-11 Anglican Chant: Samuel Wesley North Port – Sacred Harp Ave verum corpus – Edward Elgar Organ Organ Prelude in C major BWV 545 – Johann Sebastian Bach Toccata in D minor – Johann Sebastian Bach Fugue in C major BWV 545 – Johann Sebastian Bach Fugue in D minor ‘Dorian’ – Johann Sebastian Bach October 20 The Twenty-Second Sunday after Pentecost September 22 The Eighteenth Sunday after Pentecost Communion Service in B-flat and F major – Charles V. Stanford Communion Service in F – William H. Harris Psalm 121 Anglican Chant: Henry Walford Davies Psalm 138 Anglican Chant: Samuel Sebastian Wesley I will lift up mine eyes – Leo Sowerby Listen, sweet dove – Grayston Ives Organ Organ Prelude in G minor – Johannes Brahms Adagio (Sonata I) – Felix Mendelssohn-Bartholdy Fugue in G minor – Johannes Brahms Allegro assai vivace (Sonata I) – Felix Mendelssohn-Bartholdy October 27 The Twenty-Third Sunday after Pentecost September 29 The Feast of St. -
Une Sélection Discographique (1955-1985) François Vallerand
Document generated on 09/28/2021 6:06 a.m. Séquences La revue de cinéma 30 ans de musique de film Une sélection discographique (1955-1985) François Vallerand Le cinéma au Québec Number 120, April 1985 URI: https://id.erudit.org/iderudit/50865ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document Vallerand, F. (1985). 30 ans de musique de film : une sélection discographique (1955-1985). Séquences, (120), 108–111. Tous droits réservés © La revue Séquences Inc., 1985 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SÉQUENCES N" 120 30 ANS DE MUSIQUE DE FILM UNE SELECTION DISCOGRAPHIQUE (1955 — 1985) Les trente ans d'une revue de cinéma québécoise, cela se fête; et pourquoi pas en musique? Le cinéma, pendant ces trente années, a fait entendre des oeuvres musicales remarquables composées expressément pour lui. Un recensement discographique s'imposait donc, dans le cadre de cet anniversaire; il procurera, je l'espère, aux amateurs ou aux collectionneurs, une base de recherche utile. Un mot d'avertissement cependant: cette discographie est volontairement sélective, et donc partiale, avec tout ce que cela pourra comporter d'arbitraire aux yeux de certains. -
Sir John Goss. 1800-1880 (Concluded) Author(S): F
Sir John Goss. 1800-1880 (Concluded) Author(s): F. G. E. Source: The Musical Times and Singing Class Circular, Vol. 42, No. 700 (Jun. 1, 1901), pp. 375-383 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3368650 Accessed: 05-11-2015 01:21 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 137.189.170.231 on Thu, 05 Nov 2015 01:21:39 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES. JUNEI, I90I. 375 deprecatoryabout this accomplishmentof hers, SIR JOHN GOSS. in which,however, she acquittedherself charm- I800-I880. ingly. Her favouritemusicianwas Mendelssohn, who had greatly pleased her in early days as a (Concludedfrom page 23 I .) man. She would have nothing to say, until BEFOREresuming this biographicalsketch, a quite late in life7to Wagner or Brahms, and slight error in its Erst instalment (p. 225), once dismissed them all in one of her abrupt kindly pointed out by Mr. -
The Parish of All Saints • Ashmont Liturgical Music
The Parish of All Saints • Ashmont Liturgical Music February 5 The Fifth Sunday after the Epiphany Epiphanytide 2017 Missa brevis – Philip Radcliffe The Rev’d Michael J. Godderz, Rector Psalm 27:1-7 Anglican Chant: John Goss Andrew P. Sheranian, Organist and Master of Choristers Pater noster – Charles Villiers Stanford Organ Michael Raleigh, Archibald T. Davison Fellow Intermezzo (Sonata VIII) – Josef Gabriel Rheinberger Tempo moderato (Sonata IV) – Josef Gabriel Rheinberger January 6 The Epiphany of Our Lord Jesus Christ Missa ad Præsepe – George Malcolm February 5 The Feast of the Presentation – Candlemas Evensong Psalm 72:1-2, 10-17 Anglican Chant: Herbert Howells With the Choir of All Saints’, Worcester There shall a star appear – Felix Mendelssohn-Bartholdy Preces and Responses – Bernard Rose Organ Psalm 84 Anglican Chant: C. Hubert H. Parry Wie schön leuchtet der Morgenstern – Dietrich Buxtehude I: Allegro (Symphony II) – Louis Vierne Evening Service for Gloucester Cathedral – Herbert Howells Behold, O God our defender – Herbert Howells Organ January 8 The Feast of the Baptism of Christ Pièce d’Orgue – Johann Sebastian Bach Messe ‘Cum jubilo’ – Maurice Duruflé Sinfonia (from Cantata No. 29) – Johann Sebastian Bach Psalm 89:20-29 Anglican Chant: Samuel Sebastian Wesley Sicut cervus – Giovanni Pierluigi da Palestrina February 12 The Sixth Sunday after the Epiphany Organ Mass of the Quiet Hour – George Oldroyd Prélude sur l’Introit d’Épiphanie – Maurice Duruflé Méditation – Maurice Duruflé Psalm 119:9-16 Anglican Chant: C.H. Lloyd O -
Septuagesima, Third Sunday Before Lent – 9Th February 2020
1 Music Notes: Septuagesima, Third Sunday before Lent – 9th February 2020 It is difficult to believe that it is already just over seven years since the death of Richard Rodney Bennett (1936–2012) – he contrived to expire on Christmas Eve 2012. He was a remarkable composer and performer. As a student at the Royal Academy, he studied with Howard Ferguson and Lennox Berkeley, although perhaps with little evidence of this in his later works. While at the Academy (where he would later teach himself), he struck up a good relationship with the British avant garde composer Cornelius Cardew, before going to study with Boulez in Paris, who impressed him deeply, although not permanently. At that time, he was much taken with Boulez’s music, and with it, the entire serialist school. “Serial” here refers to a style of composition in which (in its classic version) a sequence of notes is defined – usually not something that most people would call a “tune” in the conventional sense – and the composer then uses this as the “input” for a work, manipulating the so-called “tone row” in a variety of ways to form the structure of the music. To be rather blunt, this doesn’t work well for many people, and it is often what people mean when they speak of “squeaky gate music”. Still, it became a very important compositional device for many years in the hands of a large number of composers. For a time, it almost succeeded in knocking most other approaches to composition out of the way. In recent years, this has changed again.