1 the Recitative in Trombone Music William J. Stanley ©2019 at First
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spınetL an Experiment on Gesamtkunstwerk Totalartwork Thursday–Friday October 21–22, 2004 The Cooper Union for the Advancement of Science and Art www.birgitramsauer.net/spinet 21 October 22 October Panel Discussion 6–7pm Panel Discussion 6–7pm Contemporary artists and an The Gesamtkunstwerk (Totalartwork) historical instrument in the 21st century Moderator: Moderator: Christopher McIntyre Christopher McIntyre Associate Music Curator, The Kitchen Associate Music Curator, The Kitchen Participants include: Jens Barnieck, pianist Participants include: Enrico Cocco, composer Jens Barnieck, pianist Gearoid Dolan, artist Enrico Cocco, composer Kyle Gann, composer, critic Gearoid Dolan, artist Thea Herold, word performer Thea Herold, word performer Charlie Morrow, composer Charlie Morrow, composer Aloisia Moser, philosopher Wolf-Dieter Neupert, company Wolf-Dieter Neupert, company for historical instruments for historical instruments Georg Nussbaumer, composer Georg Nussbaumer, composer Birgit Ramsauer, artist Birgit Ramsauer, artist Kartharina Rosenberger, Katharina Rosenberger, composer composer David Grahame Shane, architect, urbanist, author Concert 8pm Gerd Stern, poet and artist Gloria Coates Abraham Lincoln’s Performance 8pm Cooper Union Address* Frieder Butzmann Stefano Giannotti Soirée pour double solitaires * L’Arte des Paesaggio Charlie Morrow, alive I was silent Horst Lohse, Birgit’s Toy* and in death I do sing* Intermission Enrico Cocco, The Scene of Crime* Heinrich Hartl, Cemballissimo Aldo Brizzi, The Rosa Shocking* Katharina Rosenberger, -
The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA. -
LIBRETTO LOOP” (Created by Todd Woodard)
OPERA WARM UP ACTIVITY: “LIBRETTO LOOP” (created by Todd Woodard) • OBJECTIVE: To build a foundational knowledge of some basic Opera terms through physical and vocal engagement, while simultaneously building energy and ensemble. • STARTING POSITION: A Standing Circle (or “Loop”) • Sample TA Intro: “What is Libretto? … Yes, Libretto might be the text of an opera, but those words are brought to life through music, movement, emotion and ENERGY. So in this game, we are going to use some Opera terms as our simple libretto, and share them by passing ENERGY through, across and within our LOOP, using music, movement, and emotion.” • TERMS with ACTIONS: o RECITATIVE: • Pass LIBRETTO Energy to the person next to you by singing the word “Recitative” to a TA-set or individualized melody with a directional clap • This continues in same direction until someone changes it with a different term o ARIA: “Hold onto the energy before you pass it by taking a solo moment in the spotlight” • Person sings “Aria! Aria! Aria!”, perhaps bending on a knee with arm outstretched, or striking another strong emotional pose • Then pass the energy with “Recitative” or with one of the terms below o VIBRATO • Person with energy shakes hands out in the direction of previous person to induce a vibrato in the voice while singing an extended “Vi- brAAAAA-TOOOOOO”) • This bounces the energy back to the previous person and they continue with energy pass in the opposite direction o MELODY • First person sings “Melody” to a melody of their choice as they pass it to another person -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Functional Training for All Styles
Modern Voice Pedagogy Functional Training For All Styles By Elizabeth Ann Benson ue to the rising number of consolidated for improved efficiency including folk, rock, pop, heavy metal, collegiate musical theater and and camaraderie. Some elements of R&B and many more. These programs contemporary commercial vocal technique that may be trained need voice teachers who can provide music (CCM) programs, there independently of musical style include functional vocal technique so students is increasing demand for teachers of vibrato, posture and alignment, onsets, can safely and consistently produce the singing to provide diverse and versatile agility and registration. This article broad spectrum of sounds required in training beyond the classical aesthetic. will argue in favor of shifting to func many different styles of music. When the vocal techniques of classi tional voice training as core technical cal and CCM singing are identified training to effectively serve classical, Vocal Technique in terms of function, there is much musical theater and contemporary In 1975, Cornelius Reid encour in common. It is only in the appli commercial voice students within one aged voice pedagogues to distinguish cation of vocal technique to musical studio. between “art” and “function,” where repertoire that significant differences Musical theater singing; includes a art is “the use of skill and imagina occur, according to genre. Rather than multitude of musical sub-genres, from tion in the production of things of running independent tracks of vocal legit musical theater to contempo beauty,” and function is “the natural study in classical, music theater and rary hard rock. A study by Kathryn action characteristic of a mechanical commercial/popular singing, many Green et al. -
The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. -
RECITATIVE STYLE and the FIGURFD BASS THESIS Presented
/O i0 A COURSE IN KEYBOAIO AIMOBy BASED ON THE RECITATIVE STYLE AND THE FIGURFD BASS THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By George S. Thompson, B. M. 158610 Garland, Texas August, 1948 158610 TABLE OF CONTENTS LIST OF ILLUSTFAJTIO.S., Page . 9 , 9 0 v Chapter I. INTRODUCTION . * , " 4 4 . , Statement of the Problem Need for the Study Sources and Validity of Data Method of Presentation II. YIGUREDBASS . * 0 g , * ." 4 III. RECITATIVE . IV. TRIADS . * 0 0* * , I * 13 Root Position of Triads First Inversion of Triads Second Inversion of Triads Modulation V. NON-IARMONIC TONES * * , 9 a 9 , 0 , . The Passing Tone The Suspension The Neighboring Tone The Anticipation The Escape Tone The Appoggiatura The Pedal Point VI. SEVENTH CHORDS . * . * * * . , 43 The Dominant Seventh Chord The Supertonic Seventh Chord The Leading Tone Seventh Chord in Minor The Subdominant Seventh Chord The Tonic Seventh Chord in Major VII* ALTERED CHORDS. .. Altered Chords in Minor Altered Chords in Major 6ii Chapter Page VIII. THE CHORD OF TIE AUGEEIN SIXTH . 58 IX. MODULATIONTO FOREIGNaYS . 61 x. REVIEW . 64 BIBLIOGRAPHY . 67 iv LIST OF ILLUSTRATIONS Figure Page 1. Example of the Figurations for the Triad in Root Position . 14 2. Example of the Figurations for the First Inversion of Triads . 21 3. Example of the Figurations for the Second Inversion of Triads . 24 4. Example of the Figurations for the Passing Tone . 29 5. Example of the Figurations for the Suspension . , . 32 6. -
Vocal Music 1650-1750
Chapter 9 Vocal Music 1650-1750 Sunday, October 21, 12 Opera • beyond Italy, opera was slow to develop • France, Spain, and England enjoyed their own forms of dramatic entertainment with music Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Jean-Baptiste Lully (1632-1687), established sung drama that was part opera and part ballet • wrote a series of comédie-ballet for dancing talents of his master, Loius XIV • mixed spoken drama and dance Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • in 1672, Lully created new operatic genre: tragédie en musique (also know as tragédie lyrique) • drew on classical mythology and chivalric romances with plots being veiled favorable commentaries on recent court events Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Tragédie en musique consisted of: • an overture • an allegorical prologue • five acts of entirely sung drama, each divided into several scenes • many divertissements (interludes) Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Lully Armide - tragédie en musique (also called tragédie lyrique) - French Overture (section with slow dotted rhythms followed by faster imitative section) - the aria uses figured bass and moves freely between meters to accommodate the French language Sunday, October 21, 12 Opera Italy: Opera seria • Opera seria (serious opera) • usually tragic content • the most important type of opera cultivated from 1670-1770 • developed in Italy and sung almost exclusively -
What to Expect from Lucia Di Lammermoor
WHAT to EXpect From Lucia di Lammermoor The MetropoLitAN OperA’s production OF Lucia di Lammermoor unfurls a tight tapestry of family honor, forbidden love, heart- THE WORK LUCIA DI LAMMERMOOR break, madness, and death. Mary Zimmerman’s exploration of Sir Walter Composed by Gaetano Donizetti Scott’s shocking 1819 novel The Bride of Lammermoor led her down winding roads in Scotland, where her imagination was fed by the country’s untamed Libretto by Salvadore Cammarano vistas and abandoned castles. That journey shaped her ghost-story-inspired (based on The Bride of Lammermoor by Sir Walter Scott) vision for the production of Donizetti’s Lucia di Lammermoor. The char- First performed on September 26, 1835 acter of Lucia has become an icon in opera and beyond, an archetype of the in Naples, Italy constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary THE MET PRODUCTION and the repressed Englishmen in the novels of E.M. Forster. The insanity Marco Armiliato, Conductor that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling Mary Zimmerman, Production of this fragile woman’s state of mind remains seductively beautiful, thor- Daniel Ostling, Set Designer oughly compelling, and deeply disturbing. Madness as explored in this Mara Blumenfeld, Costume Designer opera is not merely something that happens as a plot function: it is at once a T.J. Gerckens, Lighting Designer personal tragedy, a political statement, and a healing ritual. Daniel Pelzig, Choreographer The tale is set in Scotland, which, to artists of the Romantic era, signi- STARRing fied a wild landscape on the fringe of Europe, with a culture burdened Anna Netrebko (Lucia) by a French-derived code of chivalry and an ancient tribal system. -
Determining Stephen Sondheim's
“I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS BY ©2011 PETER CHARLES LANDIS PURIN Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ___________________________ Chairperson Dr. Scott Murphy ___________________________ Dr. Deron McGee ___________________________ Dr. Paul Laird ___________________________ Dr. John Staniunas ___________________________ Dr. William Everett Date Defended: August 29, 2011 ii The Dissertation Committee for PETER PURIN Certifies that this is the approved version of the following dissertation: “I’VE A VOICE, I’VE A VOICE”: DETERMINING STEPHEN SONDHEIM’S COMPOSITIONAL STYLE THROUGH A MUSIC-THEORETIC ANALYSIS OF HIS THEATER WORKS ___________________________ Chairperson Dr. Scott Murphy Date approved: August 29, 2011 iii Abstract This dissertation offers a music-theoretic analysis of the musical style of Stephen Sondheim, as surveyed through his fourteen musicals that have appeared on Broadway. The analysis begins with dramatic concerns, where musico-dramatic intensity analysis graphs show the relationship between music and drama, and how one may affect the interpretation of events in the other. These graphs also show hierarchical recursion in both music and drama. The focus of the analysis then switches to how Sondheim uses traditional accompaniment schemata, but also stretches the schemata into patterns that are distinctly of his voice; particularly in the use of the waltz in four, developing accompaniment, and emerging meter. Sondheim shows his harmonic voice in how he juxtaposes treble and bass lines, creating diagonal dissonances. -
La Serva Padrona Set by Pergolesi
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Mozart's Transformation of the Cadenza in the First Movements Of
Mozart’s Transformation of the Cadenza in the First Movements of his Piano Concertos – Vincent C. K. Cheung Mozart’s piano concertos are often acclaimed to be the composer’s finest instrumental works. Thousands of musicians, including Beethoven and Brahms, have been amazed by his piano concertos, and for this reason, many studies on Mozart’s concertos have been done. The structure of his concertos, and especially the structure of the first movements, has been analyzed thoroughly by many musicologists, notably C. Girdlestone1 and A. Hutchings.2 However, few of them pay serious attention to Mozart’s original cadenzas for his piano concertos. This essay is an attempt to illustrate briefly how Mozart contributes to the evolution of the cadenza by ensuring it to be an essential part of the structure of the first movement, and by using it to reinforce the equality between the solo and the tutti. I. Background: the state of the cadenza around 1750 and Mozart’s transformation of the cadenza We shall begin by examining the evolution of the cadenza as a genre up to Mozart’s time. A cadenza can be defined as “a virtuoso passage inserted near the end of a concerto movement or aria, usually indicated by the appearance of a fermata over an inconclusive chord such as the tonic 6-4.”3 However, the history of cadenza can be traced back to a long time before the emergence of concerto or opera: composers since the Medieval era tended to prolong the endings of their pieces with embellishments in order to amplify the effect of the closing cadence.4 The improvised cadenza in the modern sense did not appear until the early Baroque period when the da capo aria and the concerto became popular: 1 CUTHBERT GIRDLESTONE, Mozart and his Piano Concertos (New York: Dover, 1964).