Improve Your Sight-Reading! Flute Grades 6-8 : New Edition Pdf, Epub, Ebook
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
George Grove and the Establishment of the Palestine Exploration Fund
Chapter One George Grove and the Establishment of the Palestine Exploration Fund David M. Jacobson Abstract This article surveys the growing thirst for factual evidence relating to the world of the Bible in mid-19th century Britain and early tentative efforts to address this demand. It was against this background that the polymath George Grove sought to establish a secular institution devoted to the multidisciplinary study of the southern Levant based on scientific principles. Evidence is marshalled to show that it was Grove’s exceptional combination of talents—his organizational and networking skills, natural intelligence, and wide interests, including a profound knowledge of the geography of the Bible—that enabled him to recruit some of the most illustrious figures of Victorian Britain to help him realize this ambition in 1865, with the establishment of the Palestine Exploration Fund (PEF). Keywords: James Fergusson; George Grove; history of Levantine studies; Palestine Exploration Fund; Arthur Penrhyn Stanley Introduction undertaking, and it was Grove who took on the role of PEF Honorary Secretary (Lipman 1988: 47). In 1865 George Grove (1820–1900), the secretary Twenty-four eminent figures of Victorian of the Crystal Palace, sent out formal invitations society attended the meeting (Lipman 1988: to selected public figures, asking them to 47–9), which was chaired by the Archbishop of attend the preliminary meeting of the Palestine York, William Thomson (1819–1890), a church Exploration Fund (PEF) at the Jerusalem Cham- ber,1 Westminster Abbey, at 5 pm, Friday, 12 disciplinarian who had also distinguished him- May (Conder and Kitchener 1881: 3–4; details self as a logician, earning him election as a are also recorded in the manuscript PEF Minute Fellow of the Royal Society in 1863 (Carlyle Book, Vol. -
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten Through Analysis of Their Festival Te Deums
A Comparison of Origins and Influences in the Music of Vaughn Williams and Britten through Analysis of Their Festival Te Deums Item Type text; Electronic Dissertation Authors Jensen, Joni Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 21:33:53 Link to Item http://hdl.handle.net/10150/193556 A COMPARISON OF ORIGINS AND INFLUENCES IN THE MUSIC OF VAUGHAN WILLIAMS AND BRITTEN THROUGH ANALYSIS OF THEIR FESTIVAL TE DEUMS by Joni Lynn Jensen Copyright © Joni Lynn Jensen 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 5 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joni Lynn Jensen entitled A Comparison of Origins and Influences in the Music of Vaughan Williams and Britten through Analysis of Their Festival Te Deums and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: July 29, 2005 Bruce Chamberlain _______________________________________________________________________ Date: July 29, 2005 Elizabeth Schauer _______________________________________________________________________ Date: July 29, 2005 Josef Knott Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him. -
UC Santa Barbara Dissertation Template
UNIVERSITY OF CALIFORNIA Santa Barbara English Reception of Felix Mendelssohn as Told Through British Music Histories A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Linda Joann Shaver-Gleason Committee in charge: Professor Derek Katz, Chair Professor David Paul Professor Stefanie Tcharos September 2016 The dissertation of Linda Joann Shaver-Gleason is approved. ____________________________________________ David Paul ____________________________________________ Stefanie Tcharos ____________________________________________ Derek Katz, Committee Chair September 2016 English Reception of Felix Mendelssohn as Told Through British Music Histories Copyright © 2016 by Linda Joann Shaver-Gleason iii ACKNOWLEDGEMENTS I must first acknowledge my own mortality. During the course of writing this dissertation, I was diagnosed with stage IV breast cancer which had spread to my spine. I spent weeks in the hospital and months afterward mostly bedridden. So, I owe a debt of gratitude to oncologists Juliet Penn and James Waisman for finding a chemotherapy that fights my tumors while keeping the side effects manageable enough for me to work. A warm thank you to the folks at the Solvang Cancer Center who take care of me during chemo sessions, and thank you also to the people at Santa Barbara Cottage Hospital, Santa Ynez Valley Cottage Hospital, Lompoc Valley Medical Center, City of Hope, and Sansum Clinic Lompoc. Without them, I would not be around to thank anyone else. Thank you to my family who helped out during this difficult time, particularly my parents, Carl and Patricia Shaver; my sister-in-law, Andrea Langham; and my niece, Daisy Langham. Thank you also to Ellen and Rich Krasin, Ruth and Steve Marotti, Shirley Shaver, Mary Lou Trocke, Jim and Cindy Gleason, and Ralph Lincoln. -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study
The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost). -
Walter Wilson Cobbett and the English Phantasy
WALTER WILSON COBBETT AND THE ENGLISH PHANTASY Kathryn L. Lent A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2008 Committee: Eftychia Papanikolaou, Advisor Mary Natvig Robert Fallon © 2008 Kathryn Lent All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Walter Wilson Cobbett (1847-1937), amateur violonist and philanthropist during the English Musical Renaissance, supported the composition and performance of chamber music in England. In 1905 and 1907 Cobbett held competitions, followed by a series of commissions over the next decade, for compositions that he called Phantasies. According to Cobbett’s announcement, the phantasies were to be twelve minutes in length, have sections that differed in tempo and meter, and had parts of equal importance. These works were to be reminiscent of the early English fantasies and were intended to supplement the longer chamber works that were popular at the time. Following a discussion of the English Fantasia and Cobbett’s musical knowledge, this thesis examines Cobbett’s phantasy competitions and commissions in addition to his definition of the term “phantasy.” After Cobbett’s ideas are established, the reactions and comments of his contemporaries are presented and discussed. The final pages discuss and analyze three of the award winning phantasies in terms of Liszt’s thematic transformation and Brahms’s developing variation. iv To My Mom v ACKNOWLEDGMENTS I feel incredibly lucky to have had the opportunity to work with Dr. Eftychia Papanikolaou. Her patience, encouragement and knowledge have been inspiring. I would like to thank Dr. -
Historically Informed Cadenzas, the Concerto in E-Flat, K
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ISSUES IN LATE CLASSICAL VIOLIN CONCERTO LITERATURE: HISTORICALLY INFORMED CADENZAS, THE CONCERTO IN E-FLAT, K. 268 ATTRIBUTED TO MOZART, AND BEETHOVEN’S UNFINISHED CONCERTO MOVEMENT IN C, WOO5 A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By GERONIMO OYENARD Norman, Oklahoma 2019 ISSUES IN LATE CLASSICAL VIOLIN CONCERTO LITERATURE: HISTORICALLY INFORMED CADENZAS, THE CONCERTO IN E-FLAT, K. 268 ATTRIBUTED TO MOZART, AND BEETHOVEN’S UNFINISHED CONCERTO MOVEMENT IN C, WOO5 A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Sanna Pederson, Chair Dr. Gregory Lee, Co-Chair Dr. Eugene Enrico Dr. Marvin Lamb Dr. Allison Palmer © Copyright by GERONIMO OYENARD 2019 All Rights Reserved. Table of Contents LIST OF TABLES ……………...…………………………………………………………..... viii LIST OF FIGURES ………………...…………………………………………………………. ix ABSTRACT ……….………………………………………………………………………....… xi PART ONE: “I AM NO GREAT LOVER OF DIFFICULTIES”: AN EXPLORATION OF HISTORICALLY IDIOMATIC CADENZAS FOR MOZART’S VIOLIN CONCERTOS .. ……………………………………………………………………………………………………. 1 INTRODUCTION ……………………………………………………………………... 1 CHAPTER I: THE CADENZA IN THE BAROQUE AND CLASSICAL ERAS … 3 Origins and Early History ……………………………………………………….. 3 The Classical Cadenza …………………………………………………………... 6 The Lead-In …………………………………………………………………….. 12 CHAPTER II: CADENZAS BY MOZART FOR HIS CONCERTOS ………….... 16 A Study of Mozart’s Authentic Cadenzas …………………………………...… 16 Playing Mozart’s Cadenzas: A matter of Choice or an Artistic Obligation? …... 19 Anatomy of a Mozartian Cadenza ………………………………………….….. 21 CHAPTER III: A SURVEY OF PUBLISHED CADENZAS FOR THE VIOLIN CONCERTOS ……………………………………………………………………….... 24 The Moskovitz and Kim Dissertations ……………………………………….... 24 Recent Additions to the Literature …………………………………………..…. 26 CHAPTER IV: DIFFERENT APPROACHES TO THE LACK OF AUTHENTIC MOZART CADENZAS FOR THE VIOLIN CONCERTOS ……………………… 30 Stylistic Suggestions Based on Pre-Existing Material and Sources …………... -
Sir Arthur SULLIVAN Incidental Music the Merchant of Venice Henry VIII the Sapphire Necklace Overture in C
Sir Arthur SULLIVAN Incidental Music The Merchant of Venice Henry VIII The Sapphire Necklace Overture in C Emmanuel Lawler, Tenor RTÉ Concert Orchestra Andrew Penny Sir Arthur Sullivan (1842–1900) traditional assumption that the King wrote both words and Sadly, for Sullivan that impetus was the sudden death Incidental Music music of the song cannot be proved. Percy M. Young has of his father in September 1866. A mighty blow for a man called Sullivan’s setting ‘as charming as any insouciant who loved and respected the father who, as a Sandhurst Sir Arthur Sullivan is famous all over the world as the lavish masque during which Jessica and Lorenzo make and amorous song by Campion or Rosseter or Morley.’ bandmaster, had provided Sullivan with a love for music composer who joined with the librettist W.S. Gilbert to good their elopement. The following description was and a thorough education in all orchestral instruments. As create the Gilbert and Sullivan operas. Between 1871 and written by Sullivan’s friend George Grove (editor of The Sapphire Necklace (1864) an outlet for his grief Sullivan began to revise and shape 1896 Sullivan and Gilbert wrote 14 operas, of which the Grove’s Dictionary of Music ) when the suite was what he had done, and within a short time the Overture in best known internationally are The Mikado (1885) and performed at the Crystal Palace on 28 October 1871: One of the warmest of Sullivan’s admirers was the music C. In Memoriam was completed. The Gondoliers (1889). Many of these works were first critic Henry Chorley (1808–1872). -
The Affective Properties of Keys in Instrumental Music from the Late Nineteenth and Early Twentieth Centuries
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2010 The ffeca tive properties of keys in instrumental music from the late nineteenth and early twentieth centuries Maho A. Ishiguro University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, Music Theory Commons, and the Other Arts and Humanities Commons Ishiguro, Maho A., "The ffea ctive properties of keys in instrumental music from the late nineteenth and early twentieth centuries" (2010). Masters Theses 1911 - February 2014. 536. Retrieved from https://scholarworks.umass.edu/theses/536 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE AFFECTIVE PROPERTIES OF KEYS IN INSTRUMENTAL MUSIC FROM THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES A Thesis Presented by MAHO A. ISHIGURO Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2010 Music © Copyright by Maho A. Ishiguro 2010 All Rights Reserved THE AFFECTIVE PROPERTIES OF KEYS IN THE TWENTIETH CENTURY A Thesis Presented by MAHO A. ISHIGURO Approved as to style and content by: ________________________________________ Miriam Whaples, Chair ________________________________________ Brent Auerbach, Member ________________________________________ Robert Eisenstein, Member ________________________________________ Jeffrey Cox, Department Chair Music DEDICATION I dedicate my thesis to my father, Kenzo Ishiguro. ACKNOWLEDGEMENTS I would like to thank my advisor, Prof. -
ABRSM Libretto 2009:2
01 Lib2 Cover.qxd 29/4/09 14:25 Page 1 2009:2 Librettowww.abrsm.org I Teachers’ corner – how best to Music past, motivate classroom learners I Raising an Amazing Musician – our music future self-help guide to music education I Syllabus review – a new Bowed ABRSM turns 120! Strings syllabus for 2012 02-05 Lib2 Contents News.qxd 28/4/09 15:43 Page 1 6 10 Welcome s promised in this column in the last issue, I welcome you to Libretto in its new rebranded Aformat. I very much hope that you will find this format both fresh and clear, full of useful information and interesting articles, with more for the eye to enjoy. The new Libretto is sealed with the new ABRSM logo. Let me emphasise that none of this represents change for its own sake. Rather, it is designed to 9 18 reflect what we have been told – much of it by Libretto readers – during the course of our lengthy brand review. All ABRSM stakeholders wanted us, at all costs, Contents to retain our fundamental values, such as reliability, rigour, quality and friendliness. Alongside this wish, 3 News ABRSM developments worldwide we recognised two further strands: first, that we 6 Music past, music future ABRSM enters its 120th year should become a more integrated operation, effectively joining up our range of services, whether 9 Inspirational giving Our work with UK-based charity exams, publications, courses, seminars or online Music for Youth facilities; and secondly, that we should strive to be more outward-looking and engaging, with a bolder 10 Syllabus review Nigel Scaife, Syllabus Director, approach to all our communications.