DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Themes of Childhood: A Study of Robert Schumann’s Piano Music for Children A doctoral document submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Keyboard Division of the College-Conservatory of Music 2006 By DONG XU B.M., Central Conservatory of Music, China, 1996 M.M., Eastman School of Music, 1999 Committee Chair: Frank Weinstock ABSTRACT Robert Schumann’s piano music for children, including the Kinderszenen, Album for the Young, Waldszenen, Three Piano Sonatas for the Young, and three piano duets Twelve Four-Hand Piano Pieces for Small and Big Children, Ball Scenes, and Children’s Ball, has remained the most characteristic and successful example of his engagement with the theme of childhood, a popular topic in Romantic art and culture. Although the techniques required within these collections are not as difficult as those found in Schumann’s other piano works, they embrace some of the finest and most rewarding instances of Schumann’s piano writing, and demonstrate their innermost poetic quality and evocative imagination. The purpose of this document is to explore the expressiveness of these works by revealing the sources of their emotional content, their musical originality and characteristics through a historical study and musical analysis. The first chapter addresses Schumann’s personal and family life and the influence of childhood on him to explain why the theme could have affected his affinity for music related to children. The second chapter provides an overview of Schumann’s music for and about children in genres other than piano. This chapter also discusses the quality and styles of Schumann’s late works, with emphasis on Hausmusik, a German term suggesting domestic music making found throughout in his piano music for children and many of his late compositions. The following two chapters present detailed studies of Schumann’s four piano solo works for children. To uncover their musical effect and characteristics of the theme of childhood, the compositional background, thematic treatment, harmonic design, and formal structure are analyzed in detail, as individual pieces and coherent sets. The last chapter is devoted to the three piano duets for children, and identifies their musical traits that are found throughout Schumann’s other works related to childhood. Appendices contain selected reviews of Schumann’s piano music for children by Franz Liszt, and Clara Schumann’s explanation and interpretation of pieces from the Album for the Young. ACKNOWLEDGEMENTS In the course of preparing this document, several individuals have assisted me in bringing the project to its completion, and it is my pleasure to acknowledge them here. First and foremost, I would like to express my sincere appreciation and gratitude to my piano teacher, advisor, and committee chair Professor Frank Weinstock, who has offered constructive support, invaluable advice, and sensible guidance at every stage of the project. He has been a source of inspiration during my doctoral studies and a model for me as a pianist and person. Special and warm thanks go to my committee members, Dr. Hilary Poriss and Mr. Michael Chertock, who have provided me with especially valued insights and extremely helpful comments and suggestions. I also wish to express deep thanks to my wife, Jing Ye, for her understanding, patience, and encouragement, for helping me in countless ways in my life. And to my son, Felix; it was because of his birth in 2004 that the idea for the topic first germinated. I hope that one day he will want to read it. Finally, I would like to extend my heartfelt thanks to my dear parents for their unconditional love and immeasurable support in my musical education. I dedicate this document to them, with love. TABLE OF CONTENTS LIST OF TABLES………………………………………………………………….. iii LIST OF MUSICAL EXAMPLES…………………………………………………. iv INTRODUCTION………………………………………………………………….. 1 Chapter 1. CHILDHOOD AND SCHUMANN Schumann’s Own Childhood……………………………………….. 4 Schumann’s Relationship with His Children………………………. 9 Childhood in German Romantic Literature………………………… 13 Children’s Education: Social Influences on Schumann……………. 16 2. SCHUMANN: MUSIC FOR CHILDREN, THE LATE WORKS AND HAUSMUSIK Schumann’s Music for Children……………………………………. 20 The Late Works and Hausmusik……………………………………. 37 3. THE KINDERSZENEN AND THE ALBUM FOR THE YOUNG The Kinderszenen: Schumann as a Poet……………………………. 45 The Album for the Young: Imaginative Miniatures of Childhood….. 56 4. THE WALDSZENEN AND THREE PIANO SONATAS FOR THE YOUNG The Waldszenen: A Musical Märchen……………………………... 76 Three Piano Sonatas for the Young: Musical Portraits of Three Daughters………………………………………………………... 93 i 5. THE THREE PIANO DUETS FOR CHILDREN The Piano Duet and Schumann……………………………………... 108 The Twelve Four-Hand Piano Pieces For Small and Big Children, Op. 85………………………………………………….. 111 The Ball Scenes, Op. 109 and the Children’s Ball, Op. 130……….. 118 CONCLUSION……………………………………………………………………... 128 BIBLIOGRAPHY…………………………………………………………………... 130 APPENDIXES A. Selected Reviews of Schumann’s Piano Music for Children by Liszt… 137 B. Clara Schumann’s Explanation and Interpretation of Pieces from the Album for the Young…………………………………………….. 139 ii LIST OF TABLES 1. Kinderszenen, Op. 15, key scheme and formal structure………………………. 55 2. Waldszenen, Op. 82, key scheme and formal structure………………………… 81 3. The Twelve Four-Hand Piano Pieces for Small and Big Children, Op. 85, key and formal schemes……………………………………………………… 114 4. Walzer, from the Ball Scenes, Op. 109, No. 8, formal outline…………………. 123 iii LIST OF MUSICAL EXAMPLES 1. “Mond, meiner Seele Liebling,” Op. 104, No. 1, mm. 1-8………………... 24 2. “Der Zeisig,” Op. 104, No. 4, mm. 1-11…………………………………... 25 3. Der Rose Pilgerfahrt, No. 12, Op. 112, mm. 1-6………………………….. 27 4. Der Rose Pilgerfahrt, No. 1, Op. 112, mm. 1-24………………………….. 28 5a. Märchenerzahlungen, Op. 132, 3rd movement, mm. 1-9………………….. 30 5b. Märchenerzahlungen, Op. 132, 4th movement, mm. 1-7………………….. 31 6. Mignon, Op. 68, No. 35, mm. 1-10………………………………………... 33 7. “Heiss mich nicht redden,” Op. 98a, No. 5, mm. 1-9……………………… 34 8. Requiem für Mignon, No. 6, Op. 98b, mm. 355-371………………………. 36 9a. Bittendes Kind, Op. 15, No. 4, mm. 14-17………………………………… 48 9b. Glückes genug, Op. 15, No. 5, mm. 1-4…………………………………… 48 10. Kind im Einschlummern, Op. 15, No. 12, mm. 7-16………………………. 49 11. Kind im Einschlummern, Op. 15, No. 12, mm. 25-32……………………... 50 12. Der Dichter spricht, Op. 15, No. 13, mm. 1-12…………………………… 50 13. Von fremden Ländern und Menschen, Op. 15, No. 1, mm. 1-4…………… 52 14a. Kuriose Geschichte, Op. 15, No. 2, mm. 1-4……………………………… 52 14b. Bittendes Kind, Op. 15, No. 4, mm. 1-3…………………………………… 53 14c. Fürchtenmachen, Op. 15, No. 11, mm. 1-8………………………………... 53 15a. Wichtige Begebenheit, Op. 15, No. 6, mm. 1-4……………………………. 53 15b. Träumerei, Op. 15, No. 7, mm. 1-4………………………………………... 54 15c. Ritter vom Steckenpferd, Op. 15, No. 9, mm. 1-8…………………………. 54 iv 16. Für ganz Kleine……………………………………………………………. 58 17a. Little Fugue, Op. 68, No. 40, prelude, mm. 1-4…………………………… 63 17b. Little Fugue, Op. 68, No. 40, fugue, mm. 1-4……………………………... 63 18a. A Chorale, Op. 68, No. 4…………………………………………………... 64 18b. Figured Chorale, Op. 68, No. 42, mm. 1-8………………………………... 64 19a. Remembrance, Op. 68, No. 28, mm. 1-10…………………………………. 67 19b. “Intermezzo,” from the Leiderkreis, Op. 39, No. 2, mm. 1-6……………... 67 20a. Op. 68, No. 21, mm. 1-4…………………………………………………... 68 20b. Beethoven, “Euch werde Lohn in bessern Welten” in Act II from Fidelio, mm. 1-6………………………………………………………….………… 68 21a. Op. 68, No. 21, mm. 14-18……………………………………………….... 69 21b. Fantasie, Op. 17, 1st movement, mm. 295-309……………………………. 69 22a. Soldier’s March, Op. 68, No. 2, mm. 1-12………………………………… 70 22b. Beethoven, “Spring Sonata” for piano and violin, Op. 24, 3rd movement, mm. 1-13…………………………………………………………………… 70 23. Northern Song, Op. 68, No. 41, mm. 1-4………………………………….. 71 24. Wintertime II, Op. 68, No. 39, mm. 1-6…………………………………… 72 25. Wintertime II, Op. 68, No. 39, mm. 25-32………………………………… 73 26. Wintertime II, Op. 68, No. 39, mm. 47-64………………………………… 74 27a. J.S. Bach, Peasant Cantata, BWV 212, No. 3, Recitative, mm. 4-9……… 74 27b. Papillons, Op. 2, finale, mm. 1-12………………………………………… 75 27c. Carnaval, Op. 9, finale, mm. 49-65……………………………………….. 75 28a. Einsame Blumen, Op. 82, mm. 1-7………………………………………... 81 28b. Verrufene Stelle, Op. 82, mm. 5-8………………………………………… 82 v 29a. Herberge, Op. 82, mm. 37-40……………………………………………... 82 29b. Freundliche Landschaft, Op. 82, mm. 1-5………………………………… 82 30a. Abschied, Op. 82, mm. 1-3………………………………………………... 83 30b. Herberge, Op. 82, mm. 1-2………………………………………………... 83 31a. Verrufene Stelle, Op. 82, mm. 33-35……………………………………… 83 31b. Vogel als Prophet, Op. 82, mm. 1…………………………………………. 84 32. Eintritt, Op. 82, mm. 1-4…………………………………………………... 85 33. Jäger auf der Lauer, Op. 82, mm. 1-4…………………………………….. 85 34. Schubert, “Frühlingsglaube,” D. 686, mm. 4-7……………………………. 86 35. Schubert, Waltz, from 34 Valses sentimentales, D. 779, No, 13, mm. 1-6… 87 36. Verrufene Stelle, Op. 82, mm. 1-8…………………………………………. 88 37a. Herberge, Op. 82, mm. 1-4………………………………………………... 89 37b. “Waldesgepräch,” from Liederkreis, Op. 39, No. 3, mm. 1-4……………... 89 38. Vogel als Prophet, Op. 82, mm. 1-5……………………………………….. 90 39. Abschied, Op. 82, mm. 1-6………………………………………………… 92 40a. Sonata No. 1, Op. 118, 3rd movement, mm. 1-4…………………………… 97 40b. Brahms, Clarinet Quintet, Op. 115, 3rd movement, mm. 1-4……………… 97 41. Sonata No. 1, Op. 118, 1st movement, mm. 1-4…………………………… 98 42. Sonata No. 1, Op. 118, 2nd movement, mm. 1-3…………………………... 98 43a. Sonata No. 1, Op. 118, 3rd movement, mm. 1-4…………………………… 99 43b.
Load more

Recommended publications
  • July August 2020.Pdf
    No. 68 • July/August 2020 • £5.99 www.international-piano.com INSIDE 13 PAGES OF EXPERT ADVICE FOR EVERY PIANO ENTHUSIAST SHEETFREE MUSIC GRIGOR KHACHATRYAN Armenian rising star pays homage to his heroes DEMONIC GENIUS Horowitz continues to stir controversy decades after his death TREASURE HUNT Discovering the piano music of Howells PLUS Lowell Liebermann unlocks the secrets of his celebrated Gargoyles Key resources for online learning during lockdown Discover our New Piano syllabus 2021 & 2022 NEW FOR 2021 A new Initial Grade for Piano, providing a pre-Grade 1 assessment Piano Exam Pieces, available with or without CD, from Initial Grade to New scales requirements and supporting resources Grade 8 o er a varied selection of 9 More choice and variety of pieces per grade from the syllabus. repertoire (30 pieces per grade) A duet option from Initial Grade Piano Scales and Arpeggios to Grade 3 A one-year overlap period - The Piano Scales & Arpeggios all pieces and scales must be from books have been revised the same syllabus to match the new scales requirements. ABRSM supports the teaching and learning of music Discover more and download the syllabus: in partnership with four Royal Schools of Music. abrsm.org/piano www.abrsm.org /abrsm @abrsm_music @abrsm @abrsm ABRSM YouTube #ABRSMpiano CONTENTS 5 EDITORIAL Learning during lockdown 6 LETTERS KLEMENS BEITLICH Your thoughts and comments 16 7 NEWS & NOTES Historic piano recordings catalogue launched online ••• Vladimir Feltsman curates Portland recital series ••• Igor Levit streams Satie’s
    [Show full text]
  • Catalog 2008–09
    Catalog 2008–09 Featuring an Introduction to The Suzuki® Method alfred.com SHINICHI SUZUKI October 17, 1898–January 26, 1998 History of The Suzuki® Method One Man’s Vision Shinichi Suzuki—violinist, educator, philosopher, and humanitarian, was born in 1898, the son of Japan’s fi rst violin manufacturer. Suzuki worked in the violin factory as a child, but was not interested in playing the violin until he was seventeen. Suzuki then studied violin in Japan for some years before going to Germany in the 1920s for further study. When he returned to Japan, Suzuki and his brothers formed a string quartet that toured extensively. He also taught violin at universities in Tokyo and elsewhere. During this period, Suzuki became interested in the education of young children. Beginnings After World War II, Suzuki carried his interest and sympathy for children into his work as a musician and teacher. Encouraged by the ability of children to assimilate their mother tongue, he saw a great opportunity to enrich here are moments in history when a place, a their lives through music. He based his approach on the belief that musical ability is not an inborn talent, but an time, a man and an idea converge to produce T ability that can be developed—that the potential of every results of great signifi cance. Such a moment child can grow if the child is given the proper training and learning environment. Noting that children the world occurred when Shinichi Suzuki began his over learn to speak their native language with ease, Suzuki experiments in violin teaching in Japan.
    [Show full text]
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • On Modulation —
    — On Modulation — Dean W. Billmeyer University of Minnesota American Guild of Organists National Convention June 25, 2008 Some Definitions • “…modulating [is] going smoothly from one key to another….”1 • “Modulation is the process by which a change of tonality is made in a smooth and convincing way.”2 • “In tonal music, a firmly established change of key, as opposed to a passing reference to another key, known as a ‘tonicization’. The scale or pitch collection and characteristic harmonic progressions of the new key must be present, and there will usually be at least one cadence to the new tonic.”3 Some Considerations • “Smoothness” is not necessarily a requirement for a successful modulation, as much tonal literature will illustrate. A “convincing way” is a better criterion to consider. • A clear establishment of the new key is important, and usually a duration to the modulation of some length is required for this. • Understanding a modulation depends on the aural perception of the listener; hence, some ambiguity is inherent in distinguishing among a mere tonicization, a “false” modulation, and a modulation. • A modulation to a “foreign” key may be easier to accomplish than one to a diatonically related key: the ear is forced to interpret a new key quickly when there is a large change in the number of accidentals (i.e., the set of pitch classes) in the keys used. 1 Max Miller, “A First Step in Keyboard Modulation”, The American Organist, October 1982. 2 Charles S. Brown, CAGO Study Guide, 1981. 3 Janna Saslaw: “Modulation”, Grove Music Online ed. L. Macy (Accessed 5 May 2008), http://www.grovemusic.com.
    [Show full text]
  • NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
    NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection.
    [Show full text]
  • String Methods & Collections
    248 STRING METHODS & COLLECTIONS Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 5 SUZUKI Performed by Shinichi Suzuki Performed by Koji Toyoda ■ Volume 2 .................$15.95 00-0486____ ■ Volume 5 .................$15.95 00-0918____ Suzuki Violin School UPC: 654979003014 UPC: 029156269178 Suzuki Violin School CD, Volume 2 Suzuki Violin School CD, Volume 6 Suzuki Violin School CD, Volume 1 Performed by David Nadien Performed by Koji Toyoda Performed by David Cerone World-renowned violinist David Cerone has produced ■ Volume 2 (includes separate accompaniment tracks) ■ Volume 6 .................$15.95 00-0919____ a recording of the music from this volume of the .......................................$15.95 00-0347____ UPC: 029156269840 UPC: 029156150254 immensely successful Suzuki Violin School. The CD Suzuki Violin School CD, Volume 7 features an exquisite rendition of the violin part with piano Suzuki Violin School CD, Volume 2 Performed by Koji Toyoda accompaniment. Titles include: Twinkle, Twinkle, Little Star Performed by William Preucil, Jr. and Cary Lewis Variations (Suzuki) • Song of the Wind • Etude (Suzuki) • ■ Volume 7 .................$15.95 00-0920____ Minuet 1 (Bach) • The Happy Farmer (Schumann) NEW! Volume 2 (Revised) UPC: 029156269857 .......................................$15.95 00-28262____ and more. Suzuki Violin School CD, Volume 8 ■ UPC: 038081308241 Volume 1 .................$15.95 00-0596____ Performed by Koji Toyoda UPC: 029156670684 Suzuki Violin School CD, Volume 3 ■ Performed by David Cerone Volume 8 .................$15.95 00-0921____ Suzuki Violin School CD, Volume 1 UPC: 029156982428 Performed by Shinichi Suzuki World-renowned violinist David Cerone has produced a recording of the music from this volume of the Suzuki Violin School MIDI Disk Acc.
    [Show full text]
  • PROGRAM NOTES Franz Liszt Piano Concerto No. 2 in a Major
    PROGRAM NOTES by Phillip Huscher Franz Liszt Born October 22, 1811, Raiding, Hungary. Died July 31, 1886, Bayreuth, Germany. Piano Concerto No. 2 in A Major Liszt composed this concerto in 1839 and revised it often, beginning in 1849. It was first performed on January 7, 1857, in Weimar, by Hans von Bronsart, with the composer conducting. The first American performance was given in Boston on October 5, 1870, by Anna Mehlig, with Theodore Thomas, who later founded the Chicago Symphony, conducting his own orchestra. The orchestra consists of three flutes and piccolo, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones and tuba, timpani, cymbals, and strings. Performance time is approximately twenty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Liszt’s Second Piano Concerto were given at the Auditorium Theatre on March 1 and 2, 1901, with Leopold Godowsky as soloist and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on March 19, 20, and 21, 2009, with Jean-Yves Thibaudet as soloist and Jaap van Zweden conducting. The Orchestra first performed this concerto at the Ravinia Festival on August 4, 1945, with Leon Fleisher as soloist and Leonard Bernstein conducting, and most recently on July 3, 1996, with Misha Dichter as soloist and Hermann Michael conducting. Liszt is music’s misunderstood genius. The greatest pianist of his time, he often has been caricatured as a mad, intemperate virtuoso and as a shameless and
    [Show full text]
  • Beethoven's 250 Anniversary
    PIANO MAGAZINE WINTER 2020–2021 | VOL 12 | NO 5 CELEBRATING TH BEETHOVEN’S 250 ANNIVERSARY AND MUSICAL INNOVATORS WINTER 2020–2021 Anne-Marie Commissioning Stories McDermott: Composition & Celebrating | VOL 12 | NO 5 $12.99 VOL of Pianists’ Creativity Artist, Leader, Innovator Underrepresented Composers CLAVIERCOMPANION.COM / a magazine for people who are passionate about the piano PIANO MAGAZINE PUBLISHER The Frances Clark Center for Keyboard Pedagogy EDITOR-IN-CHIEF / CHIEF CONTENT DIRECTOR WHAT YOU’LL Pamela D. Pike FIND INSIDE SENIOR EDITOR / DIRECTOR OF DIGITAL CONTENT Andrea McAlister • SENIOR EDITORS Steve Betts RESOURCES TO SUPPORT Craig Sale OUR COMMUNITY IN COLUMN EDITORS MUSICAL ENGAGEMENT Linda Christensen, Technology & ADVOCACY Vanessa Cornett, Healthy Playing, Healthy Teaching Barbara Kreader Skalinder, Teaching • Artina McCain, Diversity, Equity, and Inclusion Nicholas Phillips, Recordings COVERAGE OF THE Suzanne Schons, Books, Materials, and Music NEWEST TRENDS & IDEAS Helen Smith Tarchalski, Keyboard Kids IN PERFORMANCE Jerry Wong, International Richard Zimdars, Poetry Corner AND PEDAGOGY EXECUTIVE DIRECTOR & CEO • Jennifer Snow PRACTICAL SOLUTIONS DESIGN & PRODUCTION FOR PIANO TEACHING studio Chartreuse & LEARNING PROFILES COPY EDITORS Rebecca Bellelo • Kristen Holland Shear THOUGHT-PROVOKING DIGITAL OPERATIONS Shana Kirk IDEAS FROM A RANGE OF CONTRIBUTORS ADVERTISING COORDINATOR Anna Beth Rucker • CUSTOMER SUPPORT Morgan Kline REVIEWS OF THE LATEST MUSIC, RECORDINGS, CIRCULATION The Frances Clark Center for Keyboard Pedagogy BOOKS, TECHNOLOGY, & EDUCATIONAL EDITORIAL BOARD Nancy Bachus PRODUCTS Alejandro Cremashi Barbara Fast Rebecca Grooms Johnson Scott McBride Smith Winter Issue 2020-2021 Vol 12 No 5 / 1 CONTENTS Anne-Marie McDermott: ARTIST, LEADER, INNOVATOR by Andrea McAlister 12 Photo: Group lesson at NSMS (1960s) EXPLORE LEARN TEACH 9 EDITOR’S LETTER 32 THE GIFT OF NEW 36 BECOMING WEAVERS: Pamela D.
    [Show full text]
  • Key Relationships in Music
    LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related.
    [Show full text]
  • Nelda Reyes-Resume Ryanartists
    Nelda Reyes SAG/AFTRA Hair: Dark brown Eyes: Brown Height: 5” 3’ TV/FILM “Not one more” Isabel Heather Dominguez dir./Art Institute of Portland Grimm - Episode # 111 “Tarantella” Maid Peter Werner /NBC COMMERCIAL/INDUSTRIAL *Complete list available upon request “OCDC Spanish & English PSA” Nelda Reyes Rex-post “SEIU Orientation and Safety Video” HCA Branch Ave. Productions “Wired MD Patient Educational Videos” Health Expert Krames Video Solutions “American Red Cross EMR” Health Officer Erica Portfolio Productions “Depression Relapse”-ORCAS Carmen Moving Images VOICEOVER AND DUBBING *Complete list available upon request “Kaiser Permanente Diabetes Bilingual Campaign” Patti The Fotonovela Production Company “Abuelo -Ac tive Living” -Multnomah County Health Univision Portland Mom Department. “CISCO Online Support website ” Narrator Intersect Video THEATER *Complete list available upon request CORRIDO CALAVERA Concepcion, INC Rep, Rosario Miracle Theatre Group/Lakin Valdez dir. DANCE FOR A DOLLAR Gloria Miracle Theatre Group/Daniel Jaquez dir. BLOOD WEDDING Criada, Luna, Niña 1 Miracle Theatre Group/Olga Sanchez dir LA CARPA CALAVERA Nina Miracle Theatre Group/Philip Cuomo dir. ACTING AND MOVEMENT TRAINING Acting, Scene Work and Movement Moscow Art Theatre School and IATT, Harvard University M. Lovanov/ Alla Prokoskaya/ Oleg Topolyanskiy /N. Fedorovna Acting: Process, Classical, Experimental styles Devon Allen. Portland State University. MA. In Theatre Arts Script Analysis and Dramaturgy Karin Magaldi. Portland State University. MA. In Theatre Arts Clown Fausto Ramirez (Mexico) and Les Matapestes (France) Alexander, Decroux, Lecoq, Contact Improv. Diplomado de Teatro del Cuerpo (Mexico City) Diploma for Instructors in Kundalini Yoga IKYTA/ Yoga Alliance Empty Hand Combat and basic weaponry Anthony De Longis (USA) Shelley Lipkin Acting for the Camera (USA) Professional Training in Aerial Arts The Circus Project (US A) Pre-professional Classic Dance Program Ballet Nacional de Cuba/Gloria Campobello Co.
    [Show full text]
  • Pynchon's Sound of Music
    Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage.
    [Show full text]
  • Download Program Notes
    Symphony No. 5 in E minor, Op. 64 Pyotr Ilyich Tchaikovsky t should come as no surprise that Pyotr Ily- background to this piece, which involved Iich Tchaikovsky approached his Fifth Sym- resignation to fate, the designs of provi- phony from a position of extreme self-doubt, dence, murmurs of doubt, and similarly since that was nearly always his posture vis- dark thoughts. à-vis his incipient creations. In May 1888 he Critics blasted the symphony at its pre- confessed in a letter to his brother Modest miere, due in part to the composer’s limited that he feared his imagination had dried up, skill on the podium; and yet the audience that he had nothing more to express in mu- was enthusiastic. Predictably, Tchaikovsky sic. Still, there was a glimmer of optimism: “I decided the critics must be right. In Decem- am hoping to collect, little by little, material ber he wrote to von Meck: for a symphony,” he wrote. Tchaikovsky spent the summer of 1888 Having played my Symphony twice in Pe- at a vacation home he had built on a forest- tersburg and once in Prague, I have come ed hillside at Frolovskoe, not far from his to the conclusion that it is a failure. There home base in Moscow. The idyllic locale ap- is something repellent in it, some over- parently played a major role in his manag- exaggerated color, some insincerity of ing to complete this symphony in the span fabrication which the public instinctive- of four months. Tchaikovsky made a habit ly recognizes. It was clear to me that the of keeping his principal patron, Nadezhda applause and ovations referred not to von Meck, informed about his compositions this but to other works of mine, and that through detailed letters, and thanks to this the Symphony itself will never please ongoing correspondence a good deal of in- the public.
    [Show full text]