Almita Vamos. Beginning in Summer 2010, Oberlin Conservatory Of
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Messiah Notes.Indd
Take One... The Messiah Violin Teacher guidance notes The Messiah Violin is on display in A zoomable image of the violin is available Gallery 39, Music and Tapestry. on our website. Visit www.ashmolean.org/education/ Starting Questions The following questions may be useful as a starting point for thinking about the Messiah violin and developing speaking and listening skills with your class. • What materials do you think this violin is made from? • Why do you think this violin is in a museum? • Where do you think it might come from? • What kind of person do you think would have owned this violin? • Who could have made it? • Does the violin look like it has been played a lot or does it look brand new? • How old do you think the violin could be? • If I told you that nobody is allowed to play this violin do you feel about that? These guidance notes are designed to help you use the Ashmolean’s Messiah violin as a focus for cross-curricular teaching and learning. A visit to the Ashmolean Museum to see your chosen object offers your class the perfect ‘learning outside the classroom’ opportunity. Background Information Italy - a town that was already famous for its master violin makers. The new styles of violins and cellos that The Object he developed were remarkable for their excellent tonal quality and became the basic design for many TThe Messiah violin dates from Stradivari’s ‘golden modern versions of the instruments. period’ of around 1700 - 1725. The violin owes Stradivari’s violins are regarded as the fi nest ever its fame chiefl y to its fresh appearance due to the made. -
Syrinx (Debussy) Body and Soul (Johnny Green)
Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hurrian Hymn from Ancient Mesopotamian Spring 2020 Musical Fragment c. 1440 BCE D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Shadow of the Ziggurat Assyrian Hammered Lyre Spring 2020 (Replica) D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hymn to Horus Replica Ancient Lyre Spring 2020 Based on Trad. Eqyptian Folk Melody D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Roman Banquet Replica Kithara Spring 2020 Orig Composition in Hypophrygian Mode D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Spring 2020 D. H. Tracy If You Missed a Session…. • PDF’s of previous presentations – Also other handout materials are on the OLLI Course website: http://olli.illinois.edu/downloads/courses/ The Sound of Music Syllabus.pdf References for Sound of Music OLLI Course Spring 2020.pdf Smartphone Apps for Sound of Music.pdf Musical Scale Cheat Sheet.pdf OLLI Musical Scale Slider Tool.pdf SoundOfMusic_1 handout.pdf SoM_2_handout.pdf SoM_3 handout.pdf SoM_4 handout.pdf 2/25/20 Sound of Music 5 6 Course Outline 1. Building Blocks: Some basic concepts 2. Resonance: Building Sounds 3. Hearing and the Ear 4. Musical Scales 5. Musical Instruments 6. Singing and Musical Notation 7. Harmony and Dissonance; Chords 8. Combining the Elements of Music 2/25/20 Sound of Music 5 7 Chicago Symphony Orchestra (2015) 2/25/20 Sound of Music -
The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No. -
Secrets of Stradivarius' Unique Violin Sound Revealed, Prof Says 22 January 2009
Secrets Of Stradivarius' unique violin sound revealed, prof says 22 January 2009 Nagyvary obtained minute wood samples from restorers working on Stradivarius and Guarneri instruments ("no easy trick and it took a lot of begging to get them," he adds). The results of the preliminary analysis of these samples, published in "Nature" in 2006, suggested that the wood was brutally treated by some unidentified chemicals. For the present study, the researchers burned the wood slivers to ash, the only way to obtain accurate readings for the chemical elements. They found numerous chemicals in the wood, among them borax, fluorides, chromium and iron salts. Violin "Borax has a long history as a preservative, going back to the ancient Egyptians, who used it in mummification and later as an insecticide," For centuries, violin makers have tried and failed to Nagyvary adds. reproduce the pristine sound of Stradivarius and Guarneri violins, but after 33 years of work put into "The presence of these chemicals all points to the project, a Texas A&M University professor is collaboration between the violin makers and the confident the veil of mystery has now been lifted. local drugstore and druggist at the time. Their probable intent was to treat the wood for Joseph Nagyvary, a professor emeritus of preservation purposes. Both Stradivari and biochemistry, first theorized in 1976 that chemicals Guarneri would have wanted to treat their violins to used on the instruments - not merely the wood and prevent worms from eating away the wood because the construction - are responsible for the distinctive worm infestations were very widespread at that sound of these violins. -
Queer Abstraction
UNDER CONSTRUCTION PERFORMING CRITICAL IDENTITY EDITED BY MARIE-ANNE KOHL Under Construction State of the Arts–Reflecting Contemporary Cultural Expression Volumes in the series: Under Construction: Performing Critical Identity ISBN 978-3-03897-499-4 (Hbk); ISBN 978-3-03897-500-7 (PDF) Self-Representation in an Expanded Field: From Self-Portraiture to Selfie, Contemporary Art in the Social Media Age ISBN 978-3-03897-564-9 (Hbk); ISBN 978-3-03897-565-6 (PDF) Marie-Anne Kohl (Ed.) Under Construction Performing Critical Identity MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tianjin •Tokyo • Cluj EDITOR Marie-Anne Kohl Research Institute for Music Theater Studies, University of Bayreuth, Thurnau, Germany EDITORIAL OFFICE MDPI St. Alban-Anlage 66 4052 Basel, Switzerland For citation purposes, cite each article independently as indicated below: Author 1, and Author 2. 2021. Chapter Title. In Under Construction: Performing Critical Identity. Edited by Marie-Anne Kohl. Basel: MDPI, Page Range. ISBN 978-3-03897-499-4 (Hbk) ISBN 978-3-03897-500-7 (PDF) ISSN: 2624-9839 (Print); ISSN: 2624-9847 (Online) doi.org/10.3390/books978-3-03897-500-7 Cover image adapted from work by Mamba Azul–stock.adobe.com. © 2021 by the authors. Chapters in this volume are Open Access and distributed under the Creative Commons Attribution (CC BY 4.0) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book taken as a whole is © 2021 MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
Counting the Music Industry: the Gender Gap
October 2019 Counting the Music Industry: The Gender Gap A study of gender inequality in the UK Music Industry A report by Vick Bain Design: Andrew Laming Pictures: Paul Williams, Alamy and Shutterstock Hu An Contents Biography: Vick Bain Contents Executive Summary 2 Background Inequalities 4 Finding the Data 8 Key findings A Henley Business School MBA graduate, Vick Bain has exten sive experience as a CEO in the Phase 1 Publishers & Writers 10 music industry; leading the British Academy of Songwrit ers, Composers & Authors Phase 2 Labels & Artists 12 (BASCA), the professional as sociation for the UK's music creators, and the home of the Phase 3 Education & Talent Pipeline 15 prestigious Ivor Novello Awards, for six years. Phase 4 Industry Workforce 22 Having worked in the cre ative industries for over two decades, Vick has sat on the Phase 5 The Barriers 24 UK Music board, the UK Music Research Group, the UK Music Rights Committee, the UK Conclusion & Recommendations 36 Music Diversity Taskforce, the JAMES (Joint Audio Media in Education) council, the British Appendix 40 Copyright Council, the PRS Creator Voice program and as a trustee of the BASCA Trust. References 43 Vick now works as a free lance music industry consult ant, is a director of the board of PiPA http://www.pipacam paign.com/ and an exciting music tech startup called Delic https://www.delic.net work/ and has also started a PhD on gender diversity in the UK music industry at Queen Mary University of London. Vick was enrolled into the Music Week Women in Music Awards ‘Roll Of Honour’ and BBC Radio 4 Woman’s Hour Music Industry Powerlist. -
Characterization of the Varnishes from Historical Musical Instruments
Universit`adegli Studi di Palermo DOTTORATO DI RICERCA IN SCIENZE CHIMICHE SSD CHIM/12 Chimica dell’Ambiente e Beni Culturali Caratterizzazione delle vernici da antichi strumenti musicali — Characterization of the varnishes from historical musical instruments Candidato: Tutor e Cotutor: Francesco Caruso Prof. Eugenio Caponetti e Prof.ssa Delia Francesca Chillura Martino Coordinatore: Prof. Michelangelo Gruttadauria XXII ciclo – A.A. 2008–2010 Abstract The characterization of materials such as glues, paints, pigments, binders and varnishes used to create artworks, continues to provide art historians and conservators with precious information. Such a knowledge enables restora- tion and conservation processes to be carried out properly without causing any damage to the original artefacts and also helps to understand the tech- niques used by the artists. The varnishing of musical instruments has been an interesting debating point since the end of the 19th century for lute-makers and industries focused onto the (re)production of high quality instruments. To date, there is considerable scientific interest in recovering the original formulations (the secrets of the old masters) and transferring such knowledge to restorers, conservators, lute-makers and musicologists. Ample scientific efforts have been made to identify the organic and the inorganic portions of the surface layers of several historical stringed instru- ments, although the interest has mainly been focused on North-Italian ones. This doctoral dissertation is devoted to the use of a non standard multi- analytical method for the characterization of the varnish of a selection of historical stringed musical instruments from the \Musical Instruments Mu- seum" in Brussels and the \Vincenzo Bellini" Conservatory in Palermo. -
Delmas Double Bass Auction
Tarisio Blog Page 1 of 5 Auction | Register to Bid Edit Profile Home About Us Blog Archives & Results Bookstore Contact Us In the Press Coming Events « “The ex-Castelbarco” Composite Stradivarius of 1707 From our March 2011 London auction: a violin by Carlo Giuseppe Oddone » The “Delmas” double bass by Giovanni Paolo Maggini Tarisio is delighted to present the ‘Delmas’ double bass by Giovanni Paolo Maggini. It is the first Maggini bass to be offered at auction for over a century and is in extraordinarily fine condition for its age. The following article by historian and expert Duane Rosengard provides an extensive history and analysis of this rare instrument. ex- Joseph Delmas “Boussagol” A FINE AND RARE ITALIAN BASS BY GIOVANNI PAOLO MAGGINI, BRESCIA, c. 1610 Labeled, “Gio Paolo Magini in Bressa…” Also bearing a repair label, “Andreas Miller in Insbruck Repariert 1836…” LOB 101.9 cm or 104.0 cm including the button * Sold with a certificate from the Rembert Wurlitzer Co., New York (July 20, 1960) signed by Rembert Wurlitzer. A certificate available from Duane Rosengard, Haddonfield. http://tarisio.com/wp/2011/03/the-delmas-double-bass-by-giovanni-paolo-maggini-4-2/ 4/9/2011 Tarisio Blog Page 2 of 5 The ‘Delmas’ Maggini double bass by Duane Rosengard Provenance The ‘Delmas’ Maggini double bass is named for Alphonse-Joseph Delmas ‘dit Boussagol’ (1891–1958), one of the foremost French double bassists and pedagogues of the 20th century. He was a pupil of Eduard Nanny at the Conservatoire National in Paris from 1909 until he matriculated with a First Prize in 1911. -
SCIENCE and the STRADIVARIUS' Col.In Gough School of Physics and Astronomy L'nivcrsityofbirrniogham Edgbaston, Birmingham 015 ZTT
SCIENCE AND THE STRADIVARIUS' Col.in Gough School of Physics and Astronomy L'nivcrsityofBirrniogham Edgbaston, Birmingham 015 ZTT [email protected] I that malo. aSlmlivarius Is there really a that Slnldiv-,u;lIs violins apart a hal f, many famous physicists have bt:cn intrigued by the from the best instruments made After more than a workings of the violin, with Helmholtz, Savart and Raman all hundred years of vigorous debate, qucstlon TCmatnS making vital contrihutions highly contentious, provoking strongly held hut divergent It is important to recognize that the sound of" the great views among players, violin makers and scientists alike. AI! of Italian instrumeuts we hcar today is very different from the the greatest violinists of modern timcs certainly believe it 10 sound they would have made in Stradivari's time. Almost all be true, and invariably perform on violins by Stradivari or Cremonese instruments underwent extensive restoration and Guarneri in preference to modem instruments "improwmenf' in the 19th cemury. You need only listen to Vio lins by the groat Italian makers arc, of COUfllC, beautiful "authentic" baroque groups, ill which most top perrmmers \mrksofaTlin their own right, and are covcted by collectors play on fine Italian instnnncnls restored to their formcr as well as players. Particularly outstanding violins have to recognize the vast diffcrence in loue quality bern'een thcse reputedly changed hands for over a million pounds. In restored originals and '·modem" versions of the Cremonese contrast, finc modern instrumcnts typically cost about violins £10,000, factory-mack violins for beginners can be Prominent among the 19th-<:e!ltury violin restorer, was bought fo r under £100. -
Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part. -
Symphony Summer2020 Women Conductors
SUMMER 2020 n $6.95 symphonyTHE MAGAZINE OF THE LEAGUE OF AMERICAN ORCHESTRAS Where We Are Now Orchestras are seeking new ways forward amid the global pandemic and concerns about racial injustice Orchestras and Pandemics: Women Conductors Anti-Black Discrimination 1918 and 2020 On the Rise at U.S. Orchestras It’s About Time Gemma New, the Dallas Symphony Orchestra’s principal guest conductor, leads the DSO at Meyerson Symphony Center. Sylvia Elzafon The good news: more women are getting high-profile jobs conducting orchestras. The bad news: it’s not yet time to retire the phrase “glass ceiling” for once and for all. Will we get there, and if so, when? by Jennifer Melick n 2016, a ten-year-old violinist named St. Louis Symphony’s blog, “She has so Madeline de Geest went to a St. Louis much energy and potential. She reminded ISymphony Youth Orchestra concert me of myself when I was that age.” Since led by Gemma New, who had just been then, De Geest joined the SLSYO as one appointed the St. Louis Symphony’s resi- of its youngest musicians, and New’s pro- dent conductor. De Geest, enthralled, file has continued to rise. In addition to came backstage after the performance to her St. Louis position, which concluded in ask for an autograph, and New gave the May, New is now principal guest conduc- young musician her conducting baton. In tor at the Dallas Symphony Orchestra, the 2017, New invited De Geest to a St. Louis first woman to hold that title there; serves Symphony Youth Orchestra rehearsal, and as music director of Canada’s Hamilton De Geest brought her violin and music Philharmonic Orchestra; and has a full folder. -
Stradivarius: Origins and Legacy of the Greatest Violin Maker” June 4 & 5
FOR IMMEDIATE RELEASE Celebrate all things Italian during the final weekend of “Stradivarius: Origins and Legacy of the Greatest Violin Maker” June 4 & 5 PHOENIX (May 17, 2016)—The time has come for the Musical Instrument Museum’s (MIM) one-of-a- kind exhibition “Stradivarius: Origins and Legacy of the Greatest Violin Maker” to close and MIM is ending the exhibition with an exciting cadenza! On June 4 and 5, come to MIM and “Experience Italy” with music, culture, food and more. Delight in an Italian Clarinet Classics performance as well as a violin and fiddle show. Enjoy Italian string music, learn about Italian violins and hear the interplay of violin and guitar in a special musical presentation. Learn about the Italian city of Cremona and its long history of violin making from Virginia Villa, director general of the Museo del Violino, and Paolo Bodini, president of the Friends of Stradivari. Be hands-on with a toe-tap piano and try making an Italian accordion. Don’t miss the delicious Italian-inspired food items for sale at Café Allegro, including minestrone vegetable soup, saffron risotto with wild mushrooms and cannoli. On the evening of June 5, the closing night of the Stradivarius exhibition, guests will have the opportunity to hear the “Artôt-Alard” violin, created by Antonio Stradivari in 1728, played by Endre Balogh live in concert. Balogh, owner of the violin, has performed as a soloist with the Berlin Philharmonic, Rotterdam Philharmonic, and Basel Symphony. He will be accompanied by classical guitarist and composer Brian Head. June 4 and 5 is the last chance for guests to see the Stradivarius exhibition, displaying five historical instruments from the 16th to the early 19th century and five contemporary masterworks from Europe and America representing the ongoing legacy of the Cremonese violin-making method.