III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
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Program Notes Scene I
PROGRAM SCENE I NOTES GIOVANNI GIROLAMO KAPSBERGER (C. 1580 – 1651) CLAUDIO MONTEVERDI (1567 – 1643) Toccata arpeggiata Lamento della ninfa While little is known of Kapsberger’s life, he is primarily remembered as a composer As you walk through Venice for the first time, nobody can escape two things: the for theorbo, a large guitar-like instrument that was common in the period. This work, labyrinth of canals, and the striking Piazzo San Marco (St Mark’s Square), which which features on our ARIA award-winning recording Tapas, comes from a beautiful has been walked by countless musical geniuses over the years. One of these was 60-page manuscript published in Venice in 1604, titled Libro primo d'intavolatura di Claudio Monteverdi, who was the head of music at the stunning St Mark’s Basilica chitarrone (first book of theorbo tablature). Tablature is a form of music notation that which dominates the square. Famed for its extraordinary acoustic, St Mark’s indicates fingering rather than specific pitches. In this case, it shows which fingers Basilica was practically Monteverdi’s home, and it was during his over 30 years here are to be placed on which strings of the theorbo. The manuscript below constitutes that he cemented his position as one of the most influential and monumental figures the entirety of the music notated by Kapsberger for this piece: all other aspects in music history. He is usually credited as the father of the opera, and also as the of realising the music are left to the performers. However, the marking arpeggiata most important transitional figure between the Renaissance and Baroque periods indicates that is to be played with arpeggios: musical phrases that take individual of music. -
University of Florida Thesis Or Dissertation Formatting
IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection. -
ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning. -
Music Appreciation April 23, 2020
Music Virtual Learning Music Appreciation April 23, 2020 Music Appreciation Lesson: April 23, 2020 Objective/Learning Target: Students will learn about the romantic era composers and their contributions to classical music. Bell Work Painting by Casper David Friedrich, Wanderer above the Sea of Fog. Take a look at this painting & think about what you have learned about the romantic era: Write about two emotions you see expressed in this famous painting? In what ways has the artist expressed those emotions? ● Romanticism encouraged artists to seek individual paths of expressing emotions. ● Romantics valued nature, the supernatural, myths, realm beyond the everyday, and national pride. ● Political and economic events impacted the way composers wrote music and artists expressed their emotions. Lesson Franz Lizst Franz Liszt ● Born: 1811 ● Hungarian composer ● Virtuoso at playing and composing ● Credited with the creation of the symphonic poem- an extended single movement work for orchestra inspired by paintings, plays, poems or other literary or visual works expressed through music. ● Famous works: Rhapsody no. 2 & La Campanella Feliz Mendelossohn Felix Mendelossohn ● Born in Germany: 1809 ● Child prodigy ● Composed the incidental music for Shakespeare’s play “A Midsummer Night’s Dream.” ● Was also inspired to compose through his travels. ● Notable pieces: Scherzo from “A Midsummer Night’s Dream” and the Fingal’s Cave Overture, also known as the Hebrides, in reference to the rocky coast and ancient caverns of Scotland. Robert Schumann Robert Schumann ● Born: 1810 ● Focused on one genre of composing at a time. Piano was his first and most prolific. ● Married Clara Wieck, daughter of his first music teacher ● Promoted the music of Chopin, Berlioz and Brahms-all were close friends. -
9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op. -
Roberts on Carter Final
Karl Amadeus Hartmann: The Politics of Musical Inner Emigration Larson Powell Musik-Konzepte, Neue Folge no. 147 (March 2010), edited by Ulrich Tadday. Munich: edition text und kritik. 148 pp., with photographs and music examples. Die politische Theorie in der neuen Musik: Karl Amadeus Hartmann und Hannah Arendt, by Raphael Woebs. Munich: Wilhelm Fink, 2010. 162 pp. Verkettungen und Querstände. Weberns Schüler Karl Amadeus Hartmann und Ludwig Zenk und die politischen Implikationen ihres kompositorischen Handelns vor und nach 1945, by Marie-Therese Hommes. Basel: Edition Argus, 2010. 444 pp., with music examples. The waning of old-modernist models of history, Adorno's chief among them, has made possible the reevaluation of composers once overshadowed by the modernist mainstream. In the case of Karl Amadeus Hartmann, this reconsideration has taken several forms: looking at his symphonies within the larger history of the genre, re-appraising his role as a public postwar musical figure responsible for Munich's Musica Viva concerts,1 and also examining the nature of his political engagement. Hartmann can thus fruitfully be compared to composers such as Eisler and Dessau, whose work served more overt political aims than his own.2 Several recent publications address directly the question of Hartmann's political stance and its musical realization. Vindicating Hartmann as a political composer is no easy matter: not only must one face the far from unambiguous role he played from 1933-1945,3 but one must also rehabilitate the very possibility of political music itself, against its discreditation within the modernist mainstream. Principled appeals to ethics or to Hannah Arendt's political theories must thus be grounded in close musical analysis to be more than a mere rhetorical gesture. -
How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz
Music of the Baroque period: how its styles and techniques changed music Item Type Thesis Authors Felis, Lauren Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 26/09/2021 16:07:48 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/20.500.12648/1382 Running head: MUSIC OF THE BAROQUE PERIOD 1 Music of the Baroque Period: How its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz MUSIC OF THE BAROQUE PERIOD 2 Table of Contents Table of Contents 2 Abstract 3 Introduction 4 A Brief History 4 Doctrine of Affections 5 Musical Style 6 Baroque Dance 7 Baroque String Instruments 7 Baroque Composers 8 Arcangelo Corelli 9 La Folia 9 Suzuki 10 Process of Preparing Piece 10 How I Chose the Piece 10 How I prepared the Piece 11 Conclusion 11 Appendix A 14 Appendix B 15 Appendix C 16 Appendix D 17 Appendix E 18 MUSIC OF THE BAROQUE PERIOD 3 Abstract This paper explores the music of the Baroque era and how its unique traits made it diverge from the music that preceded it, as well as pave the way for music styles to come. The Baroque period, which is generally agreed to range from around 1600 to 1750, was a time of great advancement not only in arts and sciences, but in music as well. The overabundance of ornamentation sprinkled throughout the pieces composed in this era is an attribute that was uncommon in the past, and helped distinguish the Baroque style of music. -
Eubo Mobile Baroque Academy
EUBO MOBILE BAROQUE ACADEMY EUROPEAN CO OPERATION PROJECT 2015 2018 INTERIM REPORT Pathways & Performances CONTENTS EUBO MOBILE BAROQUE ACADEMY........................................2?3 PARTNER ORGANISATIONS ....................................................4?13 INTERNATIONAL CONCERT TOURS ....................................14?18 MUSIC EDUCATION ...............................................................19?22 OTHER ACTIVITIES ................................................................23?25 HOW DO WE MAKE ALL THIS HAPPEN ................................26?27 WHO IS WHO................................................................................28 EUBO MOBILE BAROQUE ACADEMY The EUBO Mobile Baroque Academy (EMBA) co-operation project addresses the unequal provision across the European Union of baroque music education and performance, in new and creative ways. The EMBA project builds on the 30-year successful track-record of the European Union Baroque Orchestra (EUBO) in providing training and performing opportunities for young EU period performance musicians and extends and develops possibilities for orchestral musicians intending to pursue a professional career. From an earlier stage of conservatoire training via orchestral experience, through to the first steps in the professional world, musicians attending the activities of EMBA are offered a pathway into the profession. The EMBA activities supporting the development of emerging musicians include specialist masterclasses by expert tutors; residential orchestral selection -
Northwest Accordion News
NORTHWEST ACCORDION NEWS Alpenfest! Holiday Polka Washington State Fair Bringing Structure to Abstract Chaos Accordion Social Reports from the Northwest Groups VOL. 23 NO. 4 Northwest Accordion Society Winter Quarter 2013 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $110.00 the publishing deadline. Should space be an Half page $55.00 issue, articles will be printed in the order in which Quarter $30.00 they are submitted. All decisions regarding Business card $10.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc. -
A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
2257-AV-Venice by Night Digi
VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III.