Piano Repertoire Teacher's Index
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Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas Item Type text; Electronic Dissertation Authors Thomas , William Kullen Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:16:54 Link to Item http://hdl.handle.net/10150/642104 RHYTHMIC FREEDOM IN MENDELSSOHN’S SIX ORGAN SONATAS by William Kullen Thomas _____________________________ Copyright ©William Kullen Thomas 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by William Kullen Thomas, titled Rhythmic Freedom in Mendelssohn’s Six Organ Sonatas and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___ ____________________________________ Date: June 15, 2020 Professor Rex A. Woods ___ ______________________________________ Date: June 15, 2020 Dr. Jay Rosenblatt Date: June 15, 2020 Professor Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Sacred Music, 136.4, Winter 2009
SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
The Musical Compositions for Unaccompanied Solo Tuba by Four
THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE (Under the Direction of DAVID ZERKEL) ABSTRACT The solo repertoire for tuba is characterized by its small size and lack of stylistic diversity. As with other instruments in Western Art music, a solution to this dearth of repertoire has involved the worked of performer-composers, virtuoso instrumentalists who have created new works for their instrument. This study examines the solo tuba compositions of four American performer-composers: Mike Forbes, Grant Harville, Benjamin Miles, and John Stevens. Each composer’s compositional style and approach is discussed, followed by a musical analysis of their music for tuba alone. As some of these compositions are already staples in the solo tuba repertoire, this study provides a resource to performers and teachers who will perform, study, or teach these compositions. Furthermore, composers and other performer-composers will benefit from the analysis of each performer-composer’s musical style. INDEX WORDS: Mike Forbes, Grant Harville, Benjamin Miles, John Stevens, Music, Tuba, Unaccompanied, Solo, Composer, Performer-Composer THE MUSICAL COMPOSITIONS FOR UNNACOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE BM, University of Southern California, 2009 MM, University of Michigan, 2011 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2014 © 2014 David McLemore All Rights Reserved THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE Approved: Major Professor: DAVID ZERKEL Committee: ADRIAN CHILDS JEAN MARTIN-WILLIAMS Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia December 2014 TABLE OF CONTENTS Page LIST OF EXAMPLES .................................................................................................................. -
October 1893) Theodore Presser
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1893 Volume 11, Number 10 (October 1893) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 11, Number 10 (October 1893)." , (1893). https://digitalcommons.gardner-webb.edu/etude/376 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. FOR ANYTHING IN SHEET MUSIC, MUSIC BOOKS, OH MUSICAL MERCHANDISE, SEND TO THE PUBLISHER OP THE ETUDE PHILADELPHIA, PA., OCTOBER, 1893. NO. 10. John S. Dwight, the veteran musical critic and jour¬ The leader of the young Italian school of composers, THE ETUDE nalist, died, September 6th, in Boston. He was formerly Alfredo Catalini, died August 7th, at Milan. He had a owner and editor of Dwight's Journal of Music, and large host of admirers. was-connected with the leading mnsical movements in PHILADELPHIA, PA., OCTOBER, 1893. Boston. He filled a large apace in inusical affairs. It is proposed to present Verdi, on his 80th birthday, with an album containing the autographs of eminent Max Bendix is doing excellent work at the Exposition musicians throughout the world. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL GUIDE TO THE 25 ETUDES MÉLODIQUES OPUS 45 OF STEPHEN HELLER A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By LARISSA MARIE KIEFER Norman, Oklahoma 2001 UMI Number: 3009547 UMI UMI Microform 3009547 Copyright 2001 by Bell & Howell Information and Leaming Company. -
Audition Requirements 2
AUDITION REQUIREMENTS Accompaniment for woodwinds, strings and percussion is not provided, nor required. Accompanist provided for vocal auditions. Flute Undergraduate Student: Two contrasting solos or etudes from the standard flute repertory and a short selection of sight-reading. Graduate Student: Four contrasting pieces from the standard flute repertory, three standard orchestral excerpts, and a short selection of sight-reading. Oboe Undergraduate Student: Two contrasting solo pieces or etudes representing the applicant’s strengths. Applicants should also be prepared to play all major and minor scales. Sight-reading will also be requested. Graduate Student: Two to three selected major works in the oboe repertory and sight-reading. Prospective graduates might choose to substitute a major technical etude by Bozza or any for the Sixteen Grand Studies by Barret in lieu of the third solo piece. Students should also prepare three contrasting orchestral excerpts of their choice. Clarinet Undergraduate and Graduate Students: Prepare and present music that showcases their skills as musicians and clarinetists. Two contrasting items are requested. One study or etude and one repertory piece or movement (written for clarinet and piano, or clarinet alone) is recommended. A second study or etude may be presented in place of the piece, if preferred. Scales may be requested. Bassoon Undergraduate Student: Two solo pieces or etudes representing the applicant’s strengths contrasting in style and tempo, all major and minor scales, and sight-reading. Graduate Student: Two to three selected major works in the bassoon repertoire contrasting in period, style, and tempo, three orchestral excerpts. 1 SEPTEMBER 2017 Saxophone Undergraduate Student: Two contrasting movements or works from the saxophone repertoire. -
Stephen Whale, Piano Repertoire List
STEPHEN WHALE, PIANO REPERTOIRE LIST SOLO PIECES Baroque J.S. Bach Prelude and Fugues from the Well-Tempered Clavier: C Sharp Major from Book 1, C Sharp Major, E major, G Major, and G Sharp Minor from Book 2 French Suite no. 6 in G Major Partita no. 2 in C minor Domenico Scarlatti Sonata in C Major, D. 159 Classical Joseph Haydn Sonatas in E Flat Major Hob. XVI: 49 & 52 W.A. Mozart Sonatas in A minor, K310; F Major, K. 332; and F major, K. 533 L.V. Beethoven Sonatas in C Major, op. 2/3; D Major, op. 10/3; G Major, op. 31/1; A Flat Major, op. 110 M. Blasco de Nebra Sonata no. 5 Romantic Franz Schubert Sonatas in A Minor, D. 784 and G major, D. 894 Frédéric Chopin Etudes op. 10, no. 1, 3; op. 25/2, 3, 4, 12 Ballades in G minor, op. 23 and in F major, op. 38 Nocturnes, op. 15; op. 27/1; op. 37/2; op. 48 Polonaise-Fantasie in A flat major, op. 61 MaZurka in A minor, op. 59/1 Robert Schumann Fantasiestücke, op. 12 Kinderszenen, op. 15 Franz Liszt L'Apres une Lecture de Dante – Fantasia quasi Sonata Sonata in B Minor Ballade no. 2 in B Minor Johannes Brahms Zwei Rhapsodien, op. 79 Klavierstücke op. 119 EDvarD Grieg Ballade in G Minor, op. 24 Svunde Dage (Vanished Days) and Bryllupsdag på Troldhaugen (Wedding Day at Troldhaugen) from Lyriske stykker (Lyric Pieces), op. 57 "Haugelåt Halling" from Slåtter op. 72 Det første møte (the First Meeting) from Song Transcriptions for Piano, op. -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES A (INSTRUMENTAL) Consists of instrumental sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 134 Abbot, John M. The vesper bell mazurka. For solo piano. Boston: Oliver Ditson & Co., 1863. Abbot, John M. The vesper bell mazurka. For solo piano. New York: Firth, Son & Co., 1863. Abecasis, S. Duchess of Albany gavotte. For solo piano. Boston: Oliver Ditson & Co., 1883. Adams, O. S. Daily exercises for piano students. New York: Wm. A. Pond & Co., 1874. Adams, O. S. Polka caprice. For solo piano. New York: Wm. A. Pond & Co., 1880. Adams, Oliver S. Une fleur de printemps (Spring flower) mazurka. For solo piano. New York: Wm. A. Pond & Co., 1864. Adelstein, Samuel. “Bella” mazurka. Violin obbligato. Also includes arrangement for guitar solo by L. B. Douglass. [s.l.]: J. P. Broder & Co., 1889. Agosty, Florian. Orphee aux enfers gallop. No. 5 in “Hitchcock’s Ten Cent or Dime Series of Select Music for the Million,” vol. 1. New York: Benjamin W. Hitchcock, 1869. Cover features lithograph. Alard, D. Berceuse, op. 49, no. 2. For violin and piano. No. 9 in “Repertoire del’Artiste for Violin and Piano.” Baltimore: George Willig & Co., [s.d.]. Alard, D. La fille du regiment. For violin and piano. In “Eight Easy Operatic Fantasies.” Boston: Oliver Ditson & Co., [between 1858 and 1876]. Allen, Geo. W. Waltz quadrille. With a complete description of the figures. -
RCM Guitar Syllabus / 2011 Edition
Guitar GuitarSYLLABUS EDITION SYLLABUS EDITION Contents Message from the President . 5 Register for an Examination Getting Started Examination Sessions and Registration Deadlines . 73 Online Registration . 73 What’s New? . 6 Examination Fees . 73 Quick Guide to Online Examination Registration . 6 Examination Centers . 73 Contact Us . 6 Examination Scheduling . 73 About Us Examination Regulations The Royal Conservatory . 7 Examination Procedures . .74 The Royal Conservatory Examinations . 7 Credits and Refunds for Missed Examinations . 74 The College of Examiners . 7 Candidates with Special Needs . 75 Examinations Offered . 7 Examination Results . 75 Notable Alumni . 7 Table of Marks . 76 Excellence Since 1886 . 8 Supplemental Examinations . 77 Musicianship Examinations . 77 Quick Reference Practical Examination Certifi cates . 77 Certifi cate Program Overview . 9 School Credits . 77 Theory Examinations . 9 Medals . 77 Co-requisites and Prerequisites . 11 RESPs . 78 Examination Repertoire . 78 Grade-by-Grade Requirements Substitutions . 80 Technical Requirements . 12 Abbreviations . 81 Preparatory . 13 Thematic Catalogs . 82 Grade 1 . 16 Resources Grade 2 . 19 Grade 3 . 23 General Resources . 83 Grade 4 . 28 General Reference Works . 84 Grade 5 . 33 Guitar Resources . 84 Grade 6 . 38 Frequently Asked Questions Grade 7 . 43 Grade 8 . 49 Practical Examinations . 86 Grade 9 . 55 Theory Co-requisites . 86 Grade 10 . 60 ARCT in Guitar Performance . 65 Practical Examination Day Teacher’s ARCT . 69 Checklist for Candidates Before You Leave Home . 87 Points to Remember . 87 What to Expect From a Guitar Examination . 87 After the Examination . 87 5 Message from the President The Royal Conservatory was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. -
Systems Plus College Foundation Social and Psychological Research Unit
SYSTEMS PLUS COLLEGE FOUNDATION SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT INSIGHTS AND OPINIONS OF COLLEGE STUDENTS ON CLASSICAL PIANO INSTRUMENTAL MUSIC By Prof. Jose Maria G. Pelayo III May 2013 SYSTEMS PLUS COLLEGE FOUNDATION MacArthur Highway, Balibago, Angeles City, Philippines 2009 1 SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT Prof. Jose Maria G. Pelayo III Social and Psychological Research Coordinator [email protected] SYSTEMS PLUS COLLEGE FOUNDATION SOCIAL AND PSYCHOLOGICAL RESEARCH UNIT INTRODUCTION Classical Piano Instrumental Music have been used for meditation hitherto. This study would want to discover the insights and opinions of individuals with no formal musical training and how it may affect their mood, emotions, feelings, imagination, attitude, perception in life and personality. The researcher conducted this study in order to discover if this type of music could be a basis for meditation, relaxation, used for studying, reviewing, contemplation or other purposes. “The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom.” 1 Composers usually use the piano when composing songs. Contemporary songwriters have different methods like writing the lyrics first before composing the melody, vice versa or both at the same time. Famous pianist composers from before: BAROQUE PERIOD Early Baroque 1590–1625 High Baroque 1625–1660 Late Baroque 1660–1725 1.