Classical Guitar
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
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. -
Columbia University Libraries Music Library Zarzuela Collection
COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION [Shelvedoff-sST BlOTJ^ COU-tCTloh) -XS Shelvedoffeftf 1993 CONTENTS page DESCRIPTION OF THE COLLECTION 1 LISTING OF CONTENTS IN BOXORDER 4 BIBLIOGRAPHIC TITLE SHEETS (duplicates are included in boxes and have been filmed with the materials) COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION DESCRIPTION The Zarzuela Collection at Columbia University consists of almost five hundred different zarzuelas. Both nineteenth and twentieth century works are represented by libretti, scores, and separate instrumental parts. Formats include printed, typewritten, and handwritten items. Many of the libretti contain role assignments and other handwritten notes which indicate they were used by a traveling zarzuela company. Among the authors of the libretti are Javer de Bergos y Sarragoiti, Jose Estremero y Cuenca, Jacinto Benavente, and the Quintero brothers. BACKGROUND The Zarzuela Collection was given to the Columbia Music Library by the Hispanic Institute in 1986. The Institute was founded in 1916 as the Instituto de las Espanas en los Estados Unidos by Frederico de Onis, the year he became head of the Spanish Department at Columbia University. In 1940 the Institute acquired its present name, and in 1961 it moved to the Columbia campus. Since there was no space in the new quarters for the collection, it was donated to the Music Library in two installments — the first included the music scores, the second the libretti and other texts. The source and original organization of the collection are difficult to determine, since the card catalog which accompanied it did not accurately reflect it. In an unpublished study, Janet L. -
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Society of Composers Inc. National Student Conference 2001 Presented by The Indiana School of Music welcomes you to the 2001 Society of Composers Inc. National Student Conference Dear Composers and Friends: I am pleased to attend the Third Annual National Student Conference of the Society of Composers, Inc. This event, ably hosted by Jason Bahr with generous support from Don Freund, will give you that rare opportunity to meet and hear each other's works performed by some of the most talented performers in this country. Take advantage of this timethese are your future colleagues, for you can never predict when you will meet them again. This is the weekend we will choose the three winners of the SCI/ASCAP Student Composition Commission Competition, to be announced at the banquet on Saturday evening. You will hear three new compositions by the winners of the 2000 competition: Lansing D. McLoskey's new choral work on Saturday at 4:00 p.m.; Karim Al-Zand's Wind Ensemble work to be performed Thursday night at 8:00 p.m.; and Ching-chu Hu's chamber ensemble work on the Friday night concert. SCI is grateful to Fran Richard and ASCAP for their support with this ongoing commissioning project. Last month I was asked by the editor of the on-line journal at the American Music Center in New York to discuss the dominant musical style of today and to predict what the dominant musical style might be of tomorrow. If only I could predict future trends! And yet, today's music depends upon whom you ask. -
Passacaglia PRINT
On Shifting Grounds: Meandering, Modulating, and Möbius Passacaglias David Feurzeig Passacaglias challenge a prevailing assumption underlying traditional tonal analysis: that tonal motion proceeds along a unidirectional “arrow of time.” The term “continuous variation,” which describes characteristic passacaglia technique in contrast to sectional “Theme and Variations” movements, suggests as much: the musical impetus continues forward even as the underlying progression circles back to its starting point. A passacaglia describes a kind of loop. 1 But the loop of a traditional passacaglia is a rather flattened one, ovoid rather than circular. For most of the pattern, the tonal motion proceeds in one direction—from tonic to dominant—then quickly drops back to the tonic, like a skier going gradually up and rapidly down a slope. The looping may be smoother in tonic-requiring passacaglia themes (those which end on the dominant) than in tonic- providing themes, as the dominant harmony propels the music across the “seam” between successive statements of the harmonic pattern. But in both types, a clear dominant-tonic cadence tends to work against a sense of seamless circularity. This is not the case for some more recent passacaglias. A modern compositional type, which to my knowledge has not been discussed before as such, is the modulatory passacaglia.2 Modulating passacaglia themes subvert tonal closure via progressions which employ elements of traditional tonality but veer away from the putative tonal center. Passacaglias built on these themes may take on a more truly circular form, with no obvious start or endpoint. This structural ambiguity is foreshadowed in some Baroque ground-bass compositions. -
A Conversation with Mark Morris
Spring2011 Ballet Review From the Spring 2011 issue of Ballet Review A Conversation with Mark Morris On the cover: Mark Morris’ Festival Dance. 4 Paris – Peter Sparling 6 Boston – Jeffrey Gantz 8 Stupgart – Gary Smith 10 San Francisco – Leigh Witchel 13 Paris – Peter Sparling 15 Sarasota, FL – Joseph Houseal 17 Paris – Peter Sparling 19 Toronto – Gary Smith 20 Paris – Leigh Witchel 40 Joel Lobenthal 24 A Conversation with Cynthia Gregory Joseph Houseal 40 Lady Aoi in New York Elizabeth Souritz 48 Balanchine in Russia 61 Daniel Gesmer Ballet Review 39.1 56 A Conversation with Spring 2011 Bruce Sansom Editor and Designer: Marvin Hoshino Sandra Genter 61 Next Wave 2010 Managing Editor: Roberta Hellman Michael Porter Senior Editor: Don Daniels 68 Swan Lake II Associate Editor: Joel Lobenthal Darrell Wilkins 48 70 Cherkaoui and Waltz Associate Editor: Larry Kaplan Joseph Houseal Copy Editor: 76 A Conversation with Barbara Palfy Mark Morris Photographers: Tom Brazil Costas 87 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Associates: Peter Anastos 100 Check It Out Robert Greskovic George Jackson Elizabeth Kendall 70 Paul Parish Nancy Reynolds James Supon David Vaughan Edward Willinger Sarah C. Woodcock CoverphotobyTomBrazil: MarkMorris’FestivalDance. Mark Morris’ Festival Dance. (Photos: Tom Brazil) 76 ballet review A Conversation with – Plato and Satie – was a very white piece. Morris: I’m postracial. Mark Morris BR: I like white. I’m not against white. Morris:Famouslyornotfamously,Satiesaid that he wanted that piece of music to be as Joseph Houseal “white as classical antiquity,”not knowing, of course, that the Parthenon was painted or- BR: My first question is . -
Music in the “New World”: from New Spain to New England Objectives
Music in the “New World”: From New Spain to New England objectives I. the villancico in Peru (what’s new about it) II. Spanish opera in Peru III. music in the British colonies [focus on the terms and the two works on your listening list] The “Age of Discovery” (for Europeans) • 1492: Christopher Columbus (Spain) • 1494: Treaty of Tordesillas • 1500: “discovery” of Brazil by Portuguese 1 Pre‐Columbian Civilizations • Mayans (Guatemala, 4th‐8th c.) • Aztecs (Mexico, late 12th c.‐1521) • Incas (Peru, 13th c.‐1533) music of Pre‐Columbian Civilizations • NO music survives • Music Sources: – 1. surviving instruments – 2. iconography – 3. writings about music by missionaries • music was inseparable from religious ritual 1. Surviving Instruments Aztec Flutes Incan stone panpipe 2 2. Iconography “New World” 17th‐18th c. Sacred Music in Hispanic America • Catholic liturgical music – tool for evangelism • Masses, Motets, etc. (in Latin) – Prima prattica works influenced by “Golden Age of Spanish Polyphony” • Cristóbal Morales • Tomás Luis de Victoria 3 Sacred Music in New Spain (Mexico) • Villancico – strophic song in Spanish with refrain Estribillo (refrain) Copla (strophe) A b b a or A Juan del Encina: Oy comamos y bebamos, villancico (late 15th cent.) • Estrebillo: • Refrain: Oy comamos y bebamos Today let’s eat and drink y cantemos y holguemos, and sing and have a good time que mañana ayunaremos. for tomorrow we will fast. • Copla 1 • Stanza 1 [mudanza] •[mudanza] Por onrra de sant Antruejo To honor Saint Carnival parémonos oy bien anchos, today let’s end up very fat, enbutamos estos panchos, let’s stuff our bellies, rrecalquemos el pellejo, let’s stretch our skin, [vuelta] [vuelta] que constumb’es de conçejo for it’s a custom of the council que todos oy nos hartemos, that today we gorge ourselves, que mañana ayunaremos, for tomorrow we will fast Villancico: “Tarara, tarara” by Antonio de Salazar (1713) A Tarara, tarara qui yo soy Anton Tada, tada, I’m Anthony, Ninglito di nascimiento Black by birth, Qui lo canto lo mas y mijo. -
Simon Powis, Guitar (Australia) New Opportunities for a Twenty-First Century Guitarist 6:00 - 7:15 P.M
The 16th Annual Cleveland International Classical Guitar Festival June 3 - 5, 2016 Vieaux, USA SoloDuo, Italy Poláčková, Czech Republic Gallén, Spain De Jonge, Canada North, England Powis, Australia Davin, USA Beattie, Canada Presented by UITARS NTERNATIONAL G I in cooperation with the GUITARSINT.COM CLEVELAND, OHIO USA 216-752-7502 Grey Fannel HAUTE COUTURE Fait Main en France • Hand Made in France www.bamcases.com Welcome Welcome to the sixteenth annual Cleveland International Classical Guitar Festival. In pre- senting this event it has been my honor to work closely with Jason Vieaux, 2015 Grammy Award Winner and Cleveland Institute of Music Guitar Department Head; Colin Davin, recently appointed to the Cleveland Institute of Music’s Conservatory Guitar Faculty; and Tom Poore, a highly devoted guitar teacher and superb writer. Our reasons for presenting this Festival are fivefold: (1) to help increase the awareness and respect due artists whose exemplary work has enhanced our lives and the lives of others; (2) to entertain; (3) to educate; (4) to encourage deeper thought and discussion about how we listen to, perform, and evaluate fine music; and, most important, (5) to help facilitate heightened moments of human awareness. In our experience participation in the live performance of fine music is potentially one of the highest social ends towards which we can aspire as performers, music students, and audience members. For it is in live, heightened moments of musical magic—when time stops and egos dissolve—that often we are made most conscious of our shared humanity. Armin Kelly, Founder and Artistic Director Cleveland International Classical Guitar Festival Acknowledgements We wish to thank the following for their generous support of this event: The Cleveland Institute of Music: Gary Hanson, Interim President; Lori Wright, Director, Concerts and Events; Marjorie Gold, Concert Production Manager; Gina Rendall, Concert Facilities Coordinator; Susan Iler, Director of Marketing and Communications; Lynn M. -
Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar
Guitar Best Practices Years 1, 2, 3 and 4 Many schools today offer guitar classes and guitar ensembles as a form of music instruction. While guitar is a popular music choice for students to take, there are many teachers offering instruction where guitar is their secondary instrument. The NAfME Guitar Council collaborated and compiled lists of Guitar Best Practices for each year of study. They comprise a set of technical skills, music experiences, and music theory knowledge that guitar students should know through their scholastic career. As a Guitar Council, we have taken careful consideration to ensure that the lists are applicable to middle school and high school guitar class instruction, and may be covered through a wide variety of method books and music styles (classical, country, folk, jazz, pop). All items on the list can be performed on acoustic, classical, and/or electric guitars. NAfME Council for Guitar Education Best Practices Outline for a Year One Guitar Class YEAR ONE - At the completion of year one, students will be able to: 1. Perform using correct sitting posture and appropriate hand positions 2. Play a sixteen measure melody composed with eighth notes at a moderate tempo using alternate picking 3. Read standard music notation and play on all six strings in first position up to the fourth fret 4. Play melodies in the keys C major, a minor, G major, e minor, D major, b minor, F major and d minor 5. Play one octave scales including C major, G major, A major, D major and E major in first position 6. -
DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo. -
The Solo Classical Guitar Concerto
The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws © University of Pretoria The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws A mini-dissertation submitted in partial fulfilment of the requirements for the degree Master of Music (Performing Art) Department of Music Faculty of Humanities University of Pretoria Supervisor: Professor Wessel van Wyk Co-supervisor: Abri Jordaan September 2017 © University of Pretoria ABSTRACT The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. -
MUSIC 158 Proceeds with Techniques and Compositions of Intermediate Level for Classical Guitar
COURSE OUTLINE : MUSIC 158 D Credit – Degree Applicable COURSE ID 001203 AUGUST 2020 COURSE DISCIPLINE : MUSIC COURSE NUMBER : 158 COURSE TITLE (FULL) : Classical Guitar III COURSE TITLE (SHORT) : Classical Guitar III CATALOG DESCRIPTION MUSIC 158 proceeds with techniques and compositions of intermediate level for classical guitar. Included for study are selected pieces from the Renaissance, Baroque, Classic and Romantic eras, as well as solo arrangements of familiar tunes. Knowledge of the entire fingerboard is further enhanced by the practice of two and three octave scales. Basic skills for transcribing music written for keyboard are introduced. CATALOG NOTES Note: This class requires the student to have a full-size guitar in playable condition. Total Lecture Units: 0.00 Total Laboratory Units: 1.00 Total Course Units: 1.00 Total Lecture Hours: 0.00 Total Laboratory Hours: 54.00 Total Laboratory Hours To Be Arranged: 0.00 Total Contact Hours: 54.00 Total Out-of-Class Hours: 0.00 Prerequisite: MUSIC 157 or equivalent. GLENDALE COMMUNITY COLLEGE --FOR COMPLETE OUTLINE OF RECORD SEE GCC WEBCMS DATABASE-- Page 1 of 4 COURSE OUTLINE : MUSIC 158 D Credit – Degree Applicable COURSE ID 001203 AUGUST 2020 ENTRY STANDARDS Subject Number Title Description Include 1 MUSIC 157 Classical Guitar II Analyze and perform music of greater Yes contrapuntal and rhythmic complexity; 2 MUSIC 157 Classical Guitar II observe and demonstrate variations in Yes volume; 3 MUSIC 157 Classical Guitar II incorporate proper techniques for slurs and Yes grace notes into music as required; 4 MUSIC 157 Classical Guitar II develop the ability to produce natural and Yes artificial harmonics; 5 MUSIC 157 Classical Guitar II extend familiarity with the fret board by Yes practicing scales in several positions; 6 MUSIC 157 Classical Guitar II construct basic triads in major and minor Yes keys and apply them to the comprehension of fretboard harmony.