Chapter 19-- Classical Music
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Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
An Investigation of the Sonata-Form Movements for Piano by Joaquín Turina (1882-1949)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository CONTEXT AND ANALYSIS: AN INVESTIGATION OF THE SONATA-FORM MOVEMENTS FOR PIANO BY JOAQUÍN TURINA (1882-1949) by MARTIN SCOTT SANDERS-HEWETT A dissertatioN submitted to The UNiversity of BirmiNgham for the degree of MASTER OF MUSIC DepartmeNt of Music College of Arts aNd Law The UNiversity of BirmiNgham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Composed between 1909 and 1946, Joaquín Turina’s five piano sonatas, Sonata romántica, Op. 3, Sanlúcar de Barrameda, Op. 24, Sonata Fantasía, Op. 59, Concierto sin Orquesta, Op. 88 and Rincón mágico, Op. 97, combiNe established formal structures with folk-iNspired themes and elemeNts of FreNch ImpressioNism; each work incorporates a sonata-form movemeNt. TuriNa’s compositioNal techNique was iNspired by his traiNiNg iN Paris uNder ViNceNt d’Indy. The unifying effect of cyclic form, advocated by d’Indy, permeates his piano soNatas, but, combiNed with a typically NoN-developmeNtal approach to musical syNtax, also produces a mosaic-like effect iN the musical flow. -
Beethoven to Drake Featuring Daniel Bernard Roumain, Composer & Violinist
125 YEARS Beethoven to Drake Featuring Daniel Bernard Roumain, composer & violinist TEACHER RESOURCE GUIDE 87TH Annual Young People’s Concert William Boughton, Music Director Thank you for taking the NHSO’s musical journey: Beethoven to Drake Dear teachers, Many of us were so lucky to have such dedicated and passionate music teachers growing up that we decided to “take the plunge” ourselves and go into the field. In a time when we must prove how essential the arts are to a child’s growth, the NHSO is committed to supporting the dedication, passion, and excitement that you give to your students on a daily basis. We look forward to traveling down these roads this season with you and your students, and are excited to present the amazing Daniel Bernard Roumain. As a gifted composer and performer who crosses multiple musical genres, DBR inspires audience members with his unique take on Hip Hop, traditional Haitian music, and Classical music. This concert will take you and your students through the history of music - from the masters of several centuries ago up through today’s popular artists. This resource guide is meant to be a starting point for creation of your own lesson plans that you can tailor directly to the needs of your individual classrooms. The information included in each unit is organized in list form to quickly enable you to pick and choose facts and activities that will benefit your students. Each activity supports one or more of the Core Arts standards and each of the writing activities support at least one of the CCSS E/LA anchor standards for writing. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Franz Joseph Haydn (1732-1809)
Composer Fact Sheets Franz Joseph Haydn (1732-1809) FAST FACTS • Learned music as a choirboy in Vienna • Dismissed from the choir for playing a practical joke on another choir member • Wrote, performed, and organized music and events for Prince Paul Anton Esterházy • Is known for his sense of humor that is very clear in his music Born: 1732 (Rohrau, Austria) Died: 1809 (Vienna, Austria) Joseph Haydn began his long musical career in St. Stephen’s Cathedral in Vienna, where he successfully auditioned into the choir. In the early 1700s, choirboys received a well-rounded education, so Haydn became proficient at singing, harpsichord, and violin. When he turned 17, his voice changed, so he left the cathedral choir to study music even further, realizing that he had received little training in the fundamentals of music. He studied and mastered music theory, the music of other composers, and took music composition lessons from a famous Italian composer and teacher. Haydn is also rumored to have been dismissed due to a practical joke he played on one of the other members of the choir. After his departure, Haydn struggled to support himself through part-time teaching and even street- serenading. He also performed freelance work for the chapel in Vienna, and filled in as an extra musician at balls that were given for orphaned children. Haydn began to gain a reputation, however, through his independent music studies and performing career. In 1761, Haydn entered the service of Prince Paul Anton Esterházy in Hungary. Haydn was required to compose music at a rapid pace, and to perform his works in concerts weekly, and to assist with chamber music concerts that took place nearly every day. -
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 Journey from Instrumentalist to Musician
THE JOURNEY FROM INSTRUMENTALIST TO MUSICIAN: REFLECTIONS ON THE IMPLEMENTATION OF THE CONSERVATORY METHOD IN MUSICAL PERFORMANCE ©CYNTHIA MARIE MALITOWSW B.Mus., University of Lethbridge, 1995 A Thesis Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTER OF EDUCATION LETHBRIDGE, ALBERTA APRIL 2001 Dedication - To Stacey and Dyson, for constantly reminding me of the many joys of life. - To my mother, Nancy Fabro, for being my mentor and my best friend iii Abstract The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, is what defined her as a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodologies, the author identified four common themes for comparison: rhythm, pitch recognition, patterning of sounds, and literacy. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Diplomats As Musical Agents in the Age of Haydn
HAYDN: The Online Journal of the Haydn Society of North America Volume 5 Number 2 Fall 2015 Article 2 November 2015 Diplomats as Musical Agents in the Age of Haydn Mark Ferraguto Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ferraguto, Mark (2015) "Diplomats as Musical Agents in the Age of Haydn," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 5 : No. 2 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol5/iss2/2 This Work in Progress is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ferraguto, Mark "Diplomats as Musical Agents in the Age of Haydn." HAYDN: Online Journal of the Haydn Society of North America 5.2 (Fall 2015), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2015. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Diplomats as Musical Agents in the Age of Haydn by Mark Ferraguto Abstract Vienna’s embassies were major centers of musical activity throughout the eighteenth and early nineteenth centuries. Resident diplomats, in addition to being patrons and performers, often acted as musical agents, facilitating musical interactions within and between courts, among individuals and firms, and in their private salons. Through these varied activities, they played a vital role in shaping a transnational European musical culture. -
The Sonata Thomas Schmidt-Beste Frontmatter More Information
Cambridge University Press 978-0-521-75631-0 — The Sonata Thomas Schmidt-Beste Frontmatter More Information Cambridge Introductions to Music The Sonata What is a sonata? Literally translated, it simply means ‘instrumental piece’. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of ‘pure’ and independent instrumental composition, beginning around 1600 and lasting to the present day. Thomas Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context – who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called ‘sonatas’ at some point in musical history, this book is more about change than about consistency – an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez’s piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries – never before addressed in English in a single-volume survey – opens up new and significant perspectives. Thomas Schmidt-Beste is Professor and Head of Music at Bangor University, North Wales. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-75631-0 — The Sonata Thomas Schmidt-Beste Frontmatter More Information Cambridge Introductions to Music ‘Cambridge University Press is to be congratulated for formulating the idea of an “Introductions to Music” series.’ Nicholas Jones, The Musical Times Each book in this series focuses on a topic fundamental to the study of music at undergraduate and graduate level. -
Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 3 Issue 1 Article 10 September 2010 Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata Mark Richards [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Richards, Mark (2010) "Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 3 : Iss. 1 , Article 10. Available at: https://trace.tennessee.edu/gamut/vol3/iss1/10 This Review is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. REVIEW ELEMENTS OF SONATA THEORY: NORMS, TYPES, AND DEFORMATIONS IN THE LATE-EIGHTEENTH- CENTURY SONATA, BY JAMES HEPOKOSKI AND WARREN DARCY. OXFORD AND NEW YORK: OXFORD UNIVERSITY PRESS, 2006. MARK RICHARDS* hat we call classical sonata form encompasses such a wide array of compositional W possibilities that to describe it in all its instantiations would seem to be an impossible task. And yet, it is toward this admirable goal that James Hepokoski and Warren Darcy aspire in their 2006 book Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. -
MTO 20.2: Klorman, “Musical Form: Mapping the Territories”
Volume 20, Number 2, June 2014 Copyright © 2014 Society for Music Theory “Musical Form: Mapping the Territories”: A Conference Report Edward Klorman KEYWORDS: form, sonata form, conference, Estonia Received May 2014 [1] The Seventh International Conference on Music Theory, entitled “Musical Form: Mapping the Territories,” was jointly organized by the Estonian Academy of Music and Theater and the Estonian Arnold Schoenberg Society. It took place 8–11 January 2014 in the cities of Tallinn and Pärnu. [2] The conference comprised thirty-eight regular papers, (1) three keynote addresses (by William Caplin and Nathan John Martin, James Hepokoski, and Steven Vande Moortele), and a roundtable in which Caplin, Martin, and Hepokoski were joined by Poundie Burstein and Peter H. Smith. Although this roster (and the conference’s theme) might suggest a focus on “common-practice” repertoire, nearly half the papers pertained to music after 1900. The pre-1900 sessions were overwhelmingly dominated by scholars based in North America (72%, including keynotes), whereas the inverse was true of sessions on post-1900 music (75% by non-North Americans). The complete conference program and abstracts are available in the Appendix . I will discuss each part of the conference in turn, including some unifying themes common to both. I. MUSIC BEFORE 1900 [3] The interpretation of what Sonata Theory regards as a continuous exposition constituted a central theme—or, perhaps better, a framing function—for the tonal portion of the conference, which opened with two keynotes, one by Caplin and Martin and the other by Hepokoski, and culminated in the roundtable discussion. Since Caplin’s ( 1998 , 2009 ) and Hepokoski–Darcy’s ( 2006 , 2009 ) theories have dominated studies of sonata form for over a decade, their relative positions are already well-enough known.