DOCSLIB.ORG

Carmina Bura- What?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carmina Bura- What? Carmina Bura- What? HIFA - HIFA 2010 Wednesday, 28 April 2010 07:34 ARTICLE INDEX Carmina Bura- What? More Info Watch the Video All Pages A s the fireworks went off last night to mark the ending of the HIFA opening concert and the official start of the 2010 edition of the six day festival there were some who remained sitting there on the ground, awed by what they had just seen and heard while others were jostling to get out of the Telecel Main Stage arena as quickly as possible. ^ Sacrifice to the gods? A scene from Carmina Burana. The opening show, a uniquely Zimbabweanized rendition of Carl Orff's famous choral work, Carmina Burana, was presented by the Embassy of Spain in association with OSISA and supported by BancABC. This enduringly popular work, based on the medieval collection of poems by the same name, was delivered last night through the combined talent of 90 Zimbabwean voices drawn from different choirs, including New Life Covenant Choir, Celebration Choir, Chitungwiza Harmony Singers and others. http://www.zimbojam.com/culture/harare‐international‐festival‐of‐the‐arts/93‐hifa‐2010/1360‐carmina‐bura‐what.html?showall=1 ^ The 90 strong choir on stage. The show was full of surprises as men on stilts appeared unexpetedly, ghost like figures emerged from wooden boxes placed in front of the stage and awe-inspiring visual multi-media projections were beamed onto a huge semi-transparent screen covering the whole stage (which went up periodically to reveal the choir on stage) and onto another jug-shaped screen, left of the arena. This visual spectacle was designed and brought by the world renowned Spanish company, Fura dels Baus, which produced the Opening Ceremony of the Barcelona Olympics. The visual elements of the show, most people we spoke to were in agreement, were totally awesome. It was the music that some of those in the capacity crowd did not appreciate. ^ Surprise, Surprise! Dancers emerge from a wooden box in front of the stage. “I’m a Zimbo,” said one gentleman, “and you know how us Zimbos and classical music are like. Carmina Bura- chii chacho?” “I just didn’t understand it,” said someone else who left before the show finished. Meanwhile there were people hugging each other and celebrating back in the grounds of the main arena. A woman who was sitting next to one of the Zimbo Jam reporters had reached out for her husbands hand during the performance and as the choir hit a really high note, exclaimed, “Wow,” over and over again. http://www.zimbojam.com/culture/harare‐international‐festival‐of‐the‐arts/93‐hifa‐2010/1360‐carmina‐bura‐what.html?showall=1 ^ Boy meets girl. The multimedia projection was a reflection of what was being enacted by the dancers. “Amazing stuff,” was the comment from another woman. Carl Off (July 10, 1895 – March 29, 1982) was a German composer whose most famous work is Carmina Burana. Orff's masterpiece was written to incorporate what he called "Theatrum Mundi" - an approach to performance in which music, movement and speech simply cannot be separated. Each musical moment had to be connected with a corresponding action on stage. Some modern performances of Carmina Burana have been criticised for falling short of these intentions, a pitfall that HIFA's opening show made sure to avoid. ^ Dancers perform at the HIFA opening show. If you are still shaking your head and thinking Carmina Bura-what? (or worse still Carmina http://www.zimbojam.com/culture/harare‐international‐festival‐of‐the‐arts/93‐hifa‐2010/1360‐carmina‐bura‐what.html?showall=1 Bura- who?) Here’s some education from Wikipedia: Carmina Burana is a scenic cantata composed by Carl Orff between 1935 and 1936. It is based on 24 of the poems found in the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis [inset loud laughter here for those who thought this explanation would simplify things! Kehi Kehi! Kehi! Ha! Ha! Ha!]. Oh, but there’s more: Carmina Burana is part of Trionfi, the musical triptych that also includes the cantata Catulli Carmina and Trionfo di Afrodite. The best-known movement is "Fortuna Imperatrix Mundi (O Fortuna)" that opens and closes the piece. There you have it. Carmina! Carmina kadeya! Carmina 1,2,3. Carmina ju-jeksen! - The Zimbo Jam More Information about the HIFA 2010 Production of Carmina Burana: Carmina Burana by Carl Off Presented at HIFA 2010 by Embassy of Spain and OSISA in association with BancABC. Directors: Miguel Badosa Ricart and Jürgen Müller from La Fura Dels Baus Zimbabwean Creative Collaborator: Simon de Swardt Videos/Visuals Editing: Daniel Hargrove Choir Directors: Pardon Mutsago, Margaret Mackenzie, Rabison Shumba, Colbert Mpofu Musical Director & Condutor: Ben Costello (He only managed to get to Zimbabwe on Thursday due to flight delays caused by the volcanic ash cloud and instead of having two weeks to practise with the choir had barely five days!) Pianists: Coady Green and Leigh Harrold Percussion Director: Margaret Mackenzie Soloists: Naomi Harvey (soprano), Phillip Blake-Jones (baritone), Cameron Rolls (tenor). This is Favouritism: Out of the 90 voices in the choir were dear friends of The Zimbo Jam, Chieydza Nyahuye and Rosie Mitchell. Yay! VIDEO: ^ Part of the HIFA 2010 opening show, Carmina Burana. 27 April 2010. http://www.zimbojam.com/culture/harare‐international‐festival‐of‐the‐arts/93‐hifa‐2010/1360‐carmina‐bura‐what.html?showall=1 .
Load more

Recommended publications
  • Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 Minutes
    Carmina Burana Carl Orff (1895–1982) Composed: 1935–1936 Style: Contemporary Duration: 58 minutes The Latin title of tonight’s major work, translated literally as “Songs of Beuren,” comes from the Abby of Benediktbeuren where a book of poems was discovered in 1803. The Abbey is located about 30 miles south of Munich, where the composer Carl Orff was born, educated, and spent most of his life. The 13th century book contains roughly 200 secular poems that describe medieval times. The poems, written by wandering scholars and clerics known as Goliards, attack and satirize the hypocrisy of the Church while praising the self-indulgent virtues of love, food, and drink. Their language and form often parody liturgical phrases and conventions. Similarly, Orff often uses the styles and conventions of 13th century church music, most notably plainchant, to give an air of seriousness and reverence to the texts that their actual meaning could hardly demand. In addition to plainchant, however, the eclectic musical material relies upon all kinds of historical antecedents— from flamenco rhythms (no. 17, “Stetit puella”) to operatic arias (no. 21, “Intrutina”) to chorale texture (no. 24, “Ave formosissima”). The 24 poems that compose Carmina Burana are divided into three large sections— “Springtime,” “In the Tavern,” and “Court of Love” —plus a prologue and epilogue. The work begins with the chorus “Fortuna imperatrix mundi,” (“Fortune, Empress of the World”), which bemoans humankind’s helplessness in the face of the fickle wheel of fate. “Rising first, then declining, hateful life treats us badly, then with kindness, making sport of our desires.” After a brief morality tale, “Fortune plango vunera,” the “Springtime” section begins.
    [Show full text]
  • Carl Orff Carmina Burana (1937)
    CARL ORFF CARMINA BURANA (1937) CARL ORFF CARMINA BURANA (1937) CARMINA: Plural of Carmen, Latin for song. BURANA: Latin for, from Bayern, Bavaria. CANTATA VERSUS ORATORIO: Ø Cantata: A sacred or secular work for chorus and orchestra. Ø Oratorio: An opera without scenery or costumes. THE MUSIC: Ø A collection of 24 songs, most in Latin, some in Middle High German, with a few French words. THE SPECTACLE: Ø Seventy piece orchestra. Ø Large chorus of men, women and boys and girls. Ø Three soloists: tenor, baritone and soprano. THE POETRY: Ø The Medieval Latin poetry of Carmina Burana is in a style called Saturnian that dates back to 200 B.C. It was accented and stressed, used by soldiers on the march, tavern patrons and children at play. Later used by early Christians. Ø While the poems are secular, some are hymn-like. Orff’s arrangements highlight this. Ø The poems were composed by 13th century Goliards, Medieval itinerant street poets who lived by their wits, going from town to town, entertaining people for a few coins. Many were ex monks or university drop-outs. Ø Common Goliard themes include disaffection with society, mockery of the church, carnal desire and love. Ø Benedictine monks in a Bavarian monastery, founded in 733 in Beuern, in the Alps south of Munich, collected these Goliardic poems. Ø After the dissolution of the monastery in 1803, some two hundred of these poems were published in 1847 by Andreas Schmeller, a dialect scholar, in an anthology that he labeled Carmina Burana. Ø Orff discovered these in 1935 and, with the help of the poet Michael Hoffman, organized twenty-four poems from the collection into a libretto by the same name.
    [Show full text]
  • American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’S Avery Fisher Hall New York, N.Y
    FOR IMMEDIATE RELEASE: American International School of Vienna Choral Program Invited to Perform Carmina Burana in New York City’s Avery Fisher Hall New York, N.Y. – March 28, 2013 Outstanding music program Distinguished Concerts International New York City (DCINY) announced receives special invitation today that director Kathy Heedles and the American International School Choirs have been invited to participate in a performance of ‘Carmina Burana’ on the DCINY Concert Series in New York City. This performance at Lincoln Center’s Avery Fisher Hall is on March 10, 2014. These outstanding musicians will join with other choristers to form the Distinguished Concerts Singers International, a choir of distinction. Conductor Vance George will lead the performance and will serve as the clinician for the residency. Why the invitation was extended Dr. Jonathan Griffith, Artistic Director and Principal Conductor for DCINY states: “The American International School students and their director received this invitation because of the quality and high level of musicianship demonstrated by the singers on a previous performance of ‘O Fortuna’ from ‘Carmina Burana’. It is quite an honor just to be invited to perform in New York. These wonderful musicians not only represent a high quality of music and education, but they also become ambassadors for the entire community. This is an event of extreme pride for everybody and deserving of the community’s recognition and support.” The singers will spend 5 days and 4 nights in New York City in preparation for their concert. “The singers will spend approximately 9-10 hours in rehearsals over the 5 day residency.” says Griffith.
    [Show full text]
  • Concert: Carmina Burana by Carl Orff Ithaca College Choral Union
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-17-2005 Concert: Carmina Burana by Carl Orff Ithaca College Choral Union Ithaca College Symphony Orchestra Lawrence Doebler Jeffrey Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choral Union; Ithaca College Symphony Orchestra; Doebler, Lawrence; and Grogan, Jeffrey, "Concert: Carmina Burana by Carl Orff" (2005). All Concert & Recital Programs. 4790. https://digitalcommons.ithaca.edu/music_programs/4790 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CHORAL UNION ITHACA COLLEGE SYMPHONY ORCHESTRA Lawrence Doebler, conductor CARMINA BURANA by Carl Orff Randie Blooding, baritone Deborah Montgomery-Cove, soprano Carl Johengen, tenor Ithaca College Women's Chorale, Janet Galvan, conductor Ithaca College Chorus, Janet Galvan, conductor Ithaca College Choir, Lawrence Doebler, conductor Ithaca College Symphony Orchestra, Jeffrey Grogan, conductor Charis Dimaris and Read Gainsford, pianists Members of the Ithaca Children's Choir Community School of Music and Arts Janet Galvan, artistic director Verna Brummett, conductor Ford Hall Sunday, April 17, 2005 4:00 p.m. ITHACA THE OVERTURE TO THE SCHOOL FOR SCANDAL Samuel Barber Ithaca College Symphony
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    * BOSTON SYAfl PHONY m ORCHESTRA i i , V SEASON f '0* 3' Music Director lk Conductor j Emei {Music Director Lc I IP the Clarendon BACK BAY The Way to Live ;; III! in"! I II !! U nil * I v l iji HI I etc - I y=- • ^ Fi 2 '\ i ra % m 1 1 ih ... >'? & !W ||RBIK;| 4* i :: it n w* n- I II " n ||| IJH ? iu u. I 1?: iiir iu» !! i; !l! Hi \m SL • i= ! - I m, - ! | || L ' RENDERING BY NEOSCAPE INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOI CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DL/aLcomp/ REGISTERED W "HE U.S. GREEN BUILDING COUNl ITH ANTICIPATED LEED SILVER CERTIFICATION The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which a described. No Fede: subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or where prohibited. agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer being made. Void Table of Contents | Week 7 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM Notes on the Program 35 The Original Sound of the "Carmina burana" (c.1230) 41 Carl Orff's "Carmina burana" 53 To Read and Hear More..
    [Show full text]
  • Wolfgang Sawallisch Paco 044 Paco 044 Carmina Burana Agnes Giebeliebel - Marcel Cordes - Paul Kuén
    L CARL ORFF L WOLFGANG SAWALLISCH PACO 044 PACO 044 CARMINA BURANA AGNES GIEBELIEBEL - MARCEL CORDES - PAUL KUÉN 1 Fortuna Imperatrix Mundi - i: O Fortuna (2:43) 2 Fortuna Imperatrix Mundi - ii: Fortune plango vulnera (2:41) 3 I – Primo vere - iii: Veris leta facies (3:25) 4 I – Primo vere - iv: Omnia sol temperat (2:04) 5 I – Primo vere - v: Ecce gratum (2:35) 6 Uf dem Anger - vi: Tanz (1:47) 7 Uf dem Anger - vii: Floret Silva (3:13) 8 Uf dem Anger - viii: Chramer, gip die varwe mir (3:06) 9 Uf dem Anger - ix. Reie - Swaz hie gat umbe - Chume, chum, geselle min (4:22) A Uf dem Anger - x: Were diu werlt alle min (0:52) B II – In Taberna - xi: Estuans interius (2:25) C II – In Taberna - xii: Olim lacus colueram (3:11) D II – In Taberna - xiii: Ego sum abbas (1:34) Agnes Giebel, soprano E II – In Taberna - xiv: In taberna quando sumus (3:08) Marcel Cordes, baritone F III – Cour d'amours - xv: Amor volat undique (3:13) Paul Kuén, tenor G III – Cour d'amours - xvi: Dies, nox et omnia (2:17) H III – Cour d'amours - xvii: Stetit puella (1:49) Chorus of the Westdeustchen Rundfunk I III – Cour d'amours - xviii: Circa mea pectora (2:03) Chorus-master: Bernhard Zimmerman J III – Cour d'amours - xix: Si puer cum puellula (0:56) K III – Cour d'amours - xx: Veni, veni, venias (0:57) Cologne Rundfunk-Sinfonie-Orchester L III – Cour d'amours - xxi: In trutina (1:48) conductor Wolfgang Sawallisch M III – Cour d'amours - xxii: Tempus est iocundum (2:06) N III – Cour d'amours - xxiii: Dulcissime (0:36) Recorded in 1956 under the personal O Blanziflor et Helena - xxiv: Ave formosissima (1:42) supervision of Carl Orff P Fortuna Imperatrix Mundi - xxv: O Fortuna (reprise) (2:38) ORFF - CARMINA BURANA Transfer from UK Columbia LP 33CX1480 in the Pristine Audio collection R 1956 C O XR remastering by Andrew Rose at Pristine Audio, May 2010 ECORDED ININ UNDER THE PERSONAL SUPERVISION OF ARL RFF Cover artwork based on a photograph of Wolfgang Sawallisch C W R Total duration: 57:11 ©2010 Pristine Audio.
    [Show full text]
  • Kodály and Orff: a Comparison of Two Approaches in Early Music Education
    ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir.
    [Show full text]
  • Mona Lisa LEON BOTSTEIN, Conductor
    Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
    [Show full text]
  • Tapestry of Light a Holiday Celebration
    EPISODE FOUR TAPESTRY OF LIGHT: A HOLIDAY CELEBRATION A MESSAGE FROM OUR PRESIDENT & CEO We welcome you to Heinz Hall to enjoy the music and traditions of the holiday season with the Pittsburgh Symphony Orchestra. While we can’t gather together at Heinz Hall this year, we are excited to offer Front Row: Tapestry of Light, A Holiday Celebration to offer some comfort and joy during these uncertain times. This year’s program has old favorites – and new delights. Principal Pops Conductor Byron Stripling welcomes special guest vocalist Vanessa Campagna, a global star and a Beaver County native, who was discovered by Marvin Hamlisch, the PSO’s first Principal Pops Conductor. Byron also showcases his amazing trumpet playing in special performances of “Joy to the World” and an improvisation on the theme from “Dance of the Sugar Plum Fairy.” The glorious brass section of the PSO is featured in three pieces, and the PSO is joined by members of the Pittsburgh Youth Chorus and a dancer from Pittsburgh Ballet Theatre School for special performances. Valerie Coleman’s Umoja (Swahili for “unity” or “togetherness”) is played by the PSO’s flute section. And, the celebration wouldn’t be complete without the annual tradition of a sing-along! We’re also very proud to present our first ever virtual Sensory Friendly Holiday Concert. This will be the Pittsburgh Symphony’s sixth season offering sensory friendly concerts, and our second Sensory Friendly Holiday Concert. Open to all, our sensory friendly performances are customized especially for those with autism spectrum disorders or who have other disabilities that create sensory sensitivities.
    [Show full text]
  • Naxos Catalog (May
    CONTENTS Foreword by Klaus Heymann . 3 Alphabetical List of Works by Composer . 5 Collections . 95 Alphorn 96 Easy Listening 113 Operetta 125 American Classics 96 Flute 116 Orchestral 125 American Jewish Music 96 Funeral Music 117 Organ 128 Ballet 96 Glass Harmonica 117 Piano 129 Baroque 97 Guitar 117 Russian 131 Bassoon 98 Gypsy 119 Samplers 131 Best Of series 98 Harp 119 Saxophone 132 British Music 101 Harpsichord 120 Timpani 132 Cello 101 Horn 120 Trombone 132 Chamber Music 102 Light Classics 120 Tuba 133 Chill With 102 Lute 121 Trumpet 133 Christmas 103 Music for Meditation 121 Viennese 133 Cinema Classics 105 Oboe 121 Violin 133 Clarinet 109 Ondes Martenot 122 Vocal and Choral 134 Early Music 109 Operatic 122 Wedding Music 137 Wind 137 Naxos Historical . 138 Naxos Nostalgia . 152 Naxos Jazz Legends . 154 Naxos Musicals . 156 Naxos Blues Legends . 156 Naxos Folk Legends . 156 Naxos Gospel Legends . 156 Naxos Jazz . 157 Naxos World . 158 Naxos Educational . 158 Naxos Super Audio CD . 159 Naxos DVD Audio . 160 Naxos DVD . 160 List of Naxos Distributors . 161 Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2005 Catalogue $ Recording scheduled to be released before 31 March, 2006 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating.
    [Show full text]
  • Mouvance and Authorship in Heinrich Von Morungen
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Songs of the Self: Authorship and Mastery in Minnesang Permalink https://escholarship.org/uc/item/87n0t2tm Author Fockele, Kenneth Elswick Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in German and Medieval Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Niklaus Largier, chair Professor Elaine Tennant Professor Frank Bezner Fall 2016 Songs of the Self: Authorship and Mastery in Minnesang © 2016 by Kenneth Elswick Fockele Abstract Songs of the Self: Authorship and Mastery in Minnesang by Kenneth Elswick Fockele Doctor of Philosophy in German and Medieval Studies University of California, Berkeley Professor Niklaus Largier, Chair Despite the centrality of medieval courtly love lyric, or Minnesang, to the canon of German literature, its interpretation has been shaped in large degree by what is not known about it—that is, the lack of information about its authors. This has led on the one hand to functional approaches that treat the authors as a class subject to sociological analysis, and on the other to approaches that emphasize the fictionality of Minnesang as a form of role- playing in which genre conventions supersede individual contributions. I argue that the men who composed and performed these songs at court were, in fact, using them to create and curate individual profiles for themselves.
    [Show full text]
  • “O Fortuna” from Carl Orff's Carmina Burana Movement Idea by Cristi Cary Miller
    “O Fortuna” from Carl Orff's Carmina Burana Movement Idea by Cristi Cary Miller May be used with the listening lesson for “O Fortuna” from Carmina Burana by Carl Orff in the October/November 2010, Volume 11, No. 2 issue of Music Express. Formation: Partners forming concentric circles, inside circle facing outward. Each dancer holds a scarf in right hand. INTRO “O Fortuna”: Outside circle slowly raises scarf in the air and waves it R/L. “Velut luna”: Inside circle repeats action. “Statu variabilis”: With arms still raised above head, partners circle each other CW and return to starting position, facing to their R. SECTION ONE Line 1 Beats 1-6: Circles walk to their R (inside CCW, outside CW), waving scarves downward L/R on the beats. Beats 7-12: All turn in place with scarves in air. Line 2 Beats 1-6: Repeat above going in opposite direction and back to part- ners. Beats 7-12: All turn in place with scarves in air. Line 3 Beats 1-12: Circles walk to their R, waving scarves downward L/R on the beats, stopping at partners on opposite side of circle. SECTION TWO Line 1 Beats 1-6: Outside circle only walks to their R, waving scarves down- ward L/R on the beats; inside circle stays in place. Beats 7-12: Outside circle dancers turn in place with scarves in the air and hold position. Line 2 Beats 1-6: Inside circle only walks to their R, waving scarves downward L/R on the beats; outside circle stays in place.
    [Show full text]