Bohemian Violin Manual Expansion 2

Total Page:16

File Type:pdf, Size:1020Kb

Bohemian Violin Manual Expansion 2 BOHEMIAN VIOLIN MANUAL EXPANSION 2 REQUIRES UVI WORKSTATION 3.0.5+ POWERED BY BOHEMIAN VIOLIN TABLE OF CONTENTS 4 ABOUT THIS SERIES A quick overview of the Soul Capture Series 5 DOWNLOADING How to access your download 6 AUTHORIZING How to Authorize your serial (found in your confirmation email) 7 INSTALLING How to mount the downloaded Library into the UVI Workstation 8 ACTIVATING How to Activate your library in the iLok License Manager 9 FIRST SETUP Setting up the best streaming settings in UVI Workstation 10 OPENING THE LIBRARY How to load the Library in the UVI Workstation 11 ESSENTIAL FUNCTIONS The importance of the background loading functions 12 NAVIGATING THE INTERFACE How to use the built in help guide 13 MAIN INTERFACE: PLAY Purpose of the Play interface 14 PLAY FUNCTIONS 1/2 Playbox, Volume and Reverb 15 PLAY FUNCTIONS 2/2 Play Menu and Maestro 16 SETTINGS INTERFACE: CONTROL Purpose of the Control interface 17 CONTROL MENU Control menu selection 18 CONTROL KEY-SWITCHING Control Key-switching and Force-Keys 19 CONTROL ASSIGN MIDI KEYS How to assign midi keys to articulations 20 ARTICULATIONS: LAYOUT How to assign and move articulations on the user interface 2 BOHEMIAN VIOLIN TABLE OF CONTENTS 21 LAYOUT ARTICULATION SELECTION How to change articulations under each mood 22 LAYOUT ARTICULATIONS DESCRIPTIONS How to access your download 23 CONTROLLING THE PERFORMER Example articulation layout description 24 FULL ARTICULATION LIST 1/6: LONGS Descriptions of the Long articulations 25 FULL ARTICULATION LIST 2/6: LEGATOS Descriptions of the Legato articulations 26 FULL ARTICULATION LIST 3/6: SHORTS Descriptions of the Short articulations 27 FULL ARTICULATION LIST 4/6: BOW CONTROL Descriptions of the Bow Controls 28 FULL ARTICULATION LIST 5/6: MOODS Descriptions of the Moods 29 FULL ARTICULATION LIST 6/6: MOODS Descriptions of the Moods 30 CREDITS CONTROL MENU 3 BOHEMIAN VIOLIN ABOUT THIS SERIES SOUL CAPTURE SERIES THE V.I. THAT BECAME A REAL BOY The magic of the Soul Capture Series is the ability to play as the performer, someone who has spent a lifetime practicing and honing their abilities, with their personality projected through their instrument... A REAL PERFORMANCE. THE WORLDS FIRST VIOLIN VIRTUAL PERFORMER A lifetime of Violin performing and incredibly mind boggling scripting, all wrapped into a single package for you to play and compose. No midi mastery or advance programming required, the Bohemian Violin takes care of all of this on your behalf, leaving you free to make music beautifully fast with unparalleled realism. Czech born Ondrej Pochyly, the first performer to have been immortalized into our Soul Capture Series of solo instruments, performs using his Maestro Czech Violin, recorded in studio dry quality at VirHarmonic Studios, Czechia. 4 DOWNLOADING AND UNPACKING THE FILE FORMAT The Bohemian Violin is compressed into a zip file and will need to be unpacked prior to mounting into the UVI Workstation, once unpacked you will be left with a single Bohemian_Violin_V3.ufs VIRHARMONIC ACCOUNT To access your download, please login to your account at www.virharmonic.com and navigate to your downloads. ACCOUNT DOWNLOADS Locate the Bohemian Violin and click on the download icon to start the download. You may re-download up to 5 times, if you use up your download limit, then please contact our support for a limit reset or if you are having issues downloading. UNPACKING SOFTWARE Windows and Mac should both be able to natively unpack the download. However, if you encounter any issues unpacking the Bohemian_Violin_V3.zip here are links to a few free unpacking softwares: Windows: www.winzip.com MAC: www.theunarchiver.com 5 AUTHORISING USING iLOK LICENSE MANAGER NEW iLOK USERS Please visit www.ilok.com and create a free account, please make a special note of your chosen iLok ID and password, as you will need these again later. AUTHORIZING YOUR LICENSE Please visit www.virharmonic.com and sign into your account, navigate to Authorize your Library and enter your iLok ID and the serial number from your virharmonic purchase confirmation email. Click Authorize and the license is placed into your iLok account. Existing Users, the Free Expansions do not require another activation. 6 INSTALLING MOUNTING THE UFS FILE PLEASE INSTALL THE LATEST VERSION OF THE UVI WORKSTATION AND OPEN IN STANDALONE You can get the latest version here https://www.uvi.net/en/instruments/uvi-workstation.html PREFERENCES MENU To open the Preferences, click the burger button and select preferences from the drop down menu. SOUNDBANKS TAB Click on the Soundbanks Tab to open the Soundbanks page. ADD SOUNDBANK LOCATION Click on the ... button to open a file browser window. Now select the folder which contains your downloaded bohemian Violin UFS file and click open (You cannot select the library.ufs, only the folder which it is within). Close the UVI Workstation and open it again for the changes to apply. 7 ACTIVATING USING iLOK LICENSE MANAGER SIGN INTO iLOK The iLok license Manager is automatically installed with the UVI Workstation, open the iLok License Manager and sign into your account. SIGN IN Enter your iLok User ID and password to sign in. ACTIVATING THE LIBRARY Once signed in, you will see the Bohemian Violin license in the right column. Click on the license and drag it over to the icon of your computer in the left column and release the mouse button, (you can also authorize to an iLok USB if you wish to). When prompted, click to confirm activation. Your Library is now authorized to use on this computer, you can activate on up to 3 different computers at the same time. DEACTIVATING A LIBRARY Your license has 3 movable activations, you can return an activation back into your iLok License Manager at any time to reuse on another computer. Recommended to do prior to replacing computer hardware or OS reinstall/upgrade STEPS TO DEACTIVATING: 1# Sign into the iLok License Manger on the computer you wish to deactivate. 2# Right mouse click on the Bohemian Violin License in the right column. 3# In the drop down select DEACTIVATE and confirm when prompted. The activation will now be returned to your iLok account for use on another computer. 8 FIRST SETUP UVI STREAMING SETTINGS PLEASE ENSURE THAT THE UVI WORKSTATION IS CORRECTLY SETUP FOR THE BEST PERFORMANCE POSSIBLE (SSD* IS HIGHLY RECOMMENDED) PREFERENCES MENU To open the Preferences, click the burger button and select preferences from the drop down menu. STREAMING TAB Click on the Streaming Tab to open the streaming page. STREAMING SETTINGS In most cases the default settings will be ideal, but rather than loading the entire sample set into RAM, the samples may be read (streamed) from the hard disk as the program is being played. To optimize your experience, please select the appropriate hard drive type and cache size for your system. (Default cache is suitable for majority of systems). APPLY CHANGES NOTE: to apply the settings of this page, you must click Apply. UVI Workstation’s performance is directly affected by the speed of the hard disk, so the faster the drive the better, set the Hard drive type accurately for the best performance. * SOLID STATE DRIVE, INTERNAL IS BEST OR EXTERNAL VIA USB-C/THUNDERBOLT OR USB 3.0 TRY TO AVOID USING USB HUBS OR USB MULTI SPLITS, AS THEY GREATLY REDUCE HDD/SSD STREAMING SPEEDS 9 OPENING THE LIBRARY LOADING THE LIBRARY NEW USERS: PLEASE ENSURE YOU HAVE AUTHORIZED YOUR SERIAL AND HAVE ACTIVATED THE LIBRARY IN THE iLOK LICENSE MANAGER ON YOUR COMPUTER PRIOR TO LOADING THE LIBRARY. OPEN BROWSER Click on the folder icon to open the library browser. OPEN SOUNDBANKS Click on Soundbanks dropdown and the Bohemian Violin will appear below, click on the Bohemian Violin to open the patch column. Here in the patch column you can choose to open a patch which is suitable for your use. Patch 1: Bohemian_Violin_v3 - This is the default patch which will load all the samples upon launch. Patch 2: Bohemian_Violin_v3_Fast_Load - This is the fast load patch which will load the program with essential samples only. The remaining samples will load in upon first note played. To ensure the library loads fast in your saved projects, please purge the library prior to final save in your DAW. Double click the patch you wish to open and the Library will start to load. 10 ESSENTIAL FUNCTIONS BACKGROUND LOADING BACKGROUND LOADING We have given you a choice of patches to load, a full load patch (Standard load time) and Purged patch which only loads the necessary samples and leaves the rest purged (Shorter Load time). With the Purged patch, the samples will load in upon first note played. You can also purge and load samples within the user interface on the fly. PURGE SAMPLES Purge all samples, the library will become unresponsive during this short process. This function is essential to use prior to saving your project if you use fast load patch, so next time you load your project, the samples will be purged speeding up load time. (If Auto Load is off, Samples will not play until you have clicked the Load Samples button) LOAD SAMPLES This fully loads the library, you can still play the library while loading the samples, although you may hear pops and clicks during the loading. (A loading samples notification will appear until fully loaded) AUTO LOAD SAMPLES Will Automatically load the purged samples on first note played. While the library is loading the Loading Samples overlay will be active and the UI will not be accessible. Most memory efficient, suitable for SSD only, playback may be temporarily interrupted due to the background loading of samples.
Recommended publications
  • Join the National Philharmonic in a Triumphant
    West End Off-Broadway United States International Entertainment Log In Re Washington, DC Sections Shows Chat Boards Jobs Students Video Industry Insider Join the National Philharmonic In a Hot Stories BroadwayWorld TV Triumphant Celebration of Poland's 100th Anniversary of Independence Complete Casting Announced for HOW TO by BWW News Desk May. 23, 2018 Tweet Share SUCCEED at the Kennedy Center TV Exclusive: Florida State Universi The National Philharmonic ends its 2017-2018 Southern Heat to Broadway S season at The Music Center at Strathmore with a musical celebration, "100th Anniversary of Poland's Independence," on Saturday, June 2 at 8 p.m. at the Concert Hall at the Music Center at Parris, Breckenridge, & More Strathmore. Conducted by world-renowned Join Drew Gehling in DAVE at Arena Stage Polish Maestro Miroslaw Jacek Baszczyk, the 10 DAYS TO GO ­ CLICK HERE TO V concert will feature music composed by LIVE UPDATE: Poland's greatest musicians, performed by SPONGEBOB SQUAREPANTS or ME some of today's leading vocalists and musicians. for Best Musical... The performance will commence with an introduction by the Ambassador of Poland, Mosaic's Third Season Concludes With Epic World Piotr Wilczek. The 100th anniversary of Poland has signicant meaning for The National Premiere Starring Hadi Philharmonic, which is led by Polish-born Music Director and Conductor Piotr Gajewski. Tabbal One of The National Philharmonic's veteran artists, Brian Ganz-who will perform at the Polish celebration concert-is also a frequent performer of Frédéric Chopin, beginning a quest in 2011 to perform all of the great Polish composer's works.
    [Show full text]
  • French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation 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 Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
    Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
    [Show full text]
  • Don Giovanni Press Release 10.9.18
    For Immediate Release October 9, 2018 Contact: Lana Sadowski, Director of Marketing, Hampton Roads P.O. BOX 2580 ● Norfolk, VA 23501 PHONE: 757.627.9545 X 3316 EMAIL: [email protected] Virginia Opera Presents W.A. Mozart’s Don Giovanni Tale of Merciless Seducer Returns in Sixth Company Production: Performances Statewide November 2–18 Hampton Roads, Richmond, Fairfax, Virginia (October 9, 2018) — As the second opera production in its 44th season, Virginia Opera announces a new production of Wolfgang Amadeus Mozart’s ever-popular opera Don Giovanni. Statewide performances begin November 2, and conclude November 18, 2018 (please see complete list of venue locations and dates below). First performed in 1787 as Il dissoluto punito ossia il Don Giovanni (The rake punished also Don Giovan- ni), Mozart’s two-act opera traces the storied tale of the merciless seducer Don Juan in what has be- come one of the top ten most globally performed and timeless morality tales in operatic history. Come- dy and tragedy intermingle in ways only supernatural forces can address in the narrative of the legend- ary Spanish nobleman’s compulsive and destructive amorous conquests, leaving his ultimate fate in the hands of demons from the underworld as it reminds audiences that even those most powerful cannot avoid the consequences of their actions. Virginia Opera’s 2018 production of Don Giovanni represents the sixth time the company has ap- proached the classic—the last occurring in 2010—and, with it, acclaimed director Lillian Groag’s 24th VO production. Groag’s beloved veteran status is bookended by the exciting collection of emerging vocal talents making VO company debuts within the production.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title A Second Refuge: French Opera and the Huguenot Migration, c. 1680 - c. 1710 Permalink https://escholarship.org/uc/item/6ck4p872 Author Ahrendt, Rebekah Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 By Rebekah Susannah Ahrendt A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Chair Professor Richard Taruskin Professor Peter Sahlins Fall 2011 A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 Copyright 2011 by Rebekah Susannah Ahrendt 1 Abstract A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 by Rebekah Susannah Ahrendt Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Chair This dissertation examines the brief flowering of French opera on stages outside of France around the turn of the eighteenth century. I attribute the sudden rise and fall of interest in the genre to a large and noisy migration event—the flight of some 200,000 Huguenots from France. Dispersed across Western Europe and beyond, Huguenots maintained extensive networks that encouraged the exchange of ideas and of music. And it was precisely in the great centers of the Second Refuge that French opera was performed. Following the wide-ranging career path of Huguenot impresario, novelist, poet, and spy Jean-Jacques Quesnot de la Chenée, I construct an alternative history of French opera by tracing its circulation and transformation along Huguenot migration routes.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • Bernstein's Genius
    Bernstein’s Genius: Maestro as Educator Performer Bios Wyeth Aleksei, Trumpet Wyeth Aleksei, originally from Laurel, Maryland, has performed with top orchestras including the Metropolitan Opera Orchestra and Jacksonville Symphony. As an orchestral musician, Aleksei has performed on numerous concert stages including Carnegie Hall, Symphony Center (Chicago), and Kennedy Center. He has performed with many world-renowned conductors including Alan Gilbert, David Robertson, Gerard Schwartz, and Robert Spano, and has participated in many summer music festivals, including the Aspen Music Festival and School, National Orchestral Institute, and Eastern Music Festival. Aleksei graduated from Oberlin Conservatory with a bachelor’s of music and is currently studying for a master’s of music at Juilliard. His teachers include Mark Gould, Chris Martin, Roy Poper, Raymond Mase, and Chris Gekker. David Alexander, French Horn David Alexander is a third-year horn student at Juilliard, where he has a Kovner Fellowship. As an orchestral horn player, he has performed at festivals including the Colorado College Summer Music Festival, National Symphony Orchestra’s Summer Music Institute, and National Youth Orchestra USA. An avid chamber musician, he was a Kaplan Fellow at the Bowdoin International Music Festival and as a founding member of the AES V Brass Quintet has performed at Alice Tully Hall and Kennedy Center’s Millennium Stage. He gave his solo debut with the Houston Brass Band at the Round Top Festival and has since performed in recital at Juilliard, Bowdoin, and Suffolk County Music Educators’ Association. His principal teachers have included Julie Landsman, Michelle Baker, and Robert Johnson. Embarking on his own teaching career, he recently led a master class at the University of Houston’s featured alumni guest artist masterclass series.
    [Show full text]
  • Manuel García (1805-1906) a Bicentenary Reflection
    1 Manuel García (1805-1906) A Bicentenary Reflection Teresa Radomski, M.M. Professor, Department of Music Consultant, Center for Voice Disorders Wake Forest University Winston-Salem, North Carolina, U.S.A. The “Christopher Columbus of the larynx” On March 17, 1905, Manuel Patricio Rodríguez García celebrated his one hundredth birthday in London, where he had resided since 1848. The preeminent voice teacher, who had been credited with the invention of the laryngoscope, was received personally by King Edward VII, and honored at a huge gala event. A newspaper account declared: “It may be said that there has never probably been a testimonial before wherein the arts and the physical sciences have so happily combined.”1 Citations were read by royal ambassadors from Spain and Germany, as well as representatives from numerous international laryngological societies and colleagues from the Royal Academy of Music, where García had taught until 1895. A highlight of the centenary celebration was the unveiling of García’s portrait, painted by John Singer Sargent, which caused the recipient to remark: “It is a strange experience to see one’s very self spring out at one from nothing in a flash.”2 Many of García’s former students, now acclaimed professional singers, were on hand to honor their illustrious teacher. One of these was Blanche Marchesi (1863-1940), the daughter of García’s greatest disciple, Mathilde Marchesi. Blanche presented a large bouquet of flowers in the red and yellow colors of Spain, with the inscription: “To the 2 Christopher Columbus of the larynx”.3 Representing García’s most famous pupil, Jenny Lind, was her husband, Otto Goldschmidt, who, “in a few words, rendered indistinct through emotion, declared that his wife to the end of her days continued to have veneration, regard and respect for the master who enabled her to attain her greatest musical position”.4 The García family Manuel García was a member of the most important family in the history of singing.
    [Show full text]
  • 6. Vocal Forms
    ! ! ! ! ! ! VOCAL FORMS VOCAL FORMS CANTATA (“ Sung Piece”) MOTET Concerto (“To Work Together”) Concertato (“To Get/Dispute Together”) ORATORIO (“Oratory”) VOCAL FORMS CANTATA (“ Sung Piece”) VOCAL FORMS CANTATA (“ Sung Piece”) Sections of: Recitative Aria Arioso VOCAL FORMS CANTATA = MINI OPERA Sections of: Recitative Aria Arioso VOCAL FORMS Barbara STROZZI (1619-1677) VOCAL FORMS Barbara Strozzi VOCAL FORMS Barbara STROZZI (1619-1677) Born in Florence Lived in Venice Studied with Cavalli Supported by father, Giulio Strozzi Published over 100 works VOCAL FORMS Barbara STROZZI “Lagrime mie” Diporti di Euterpe (1659) [The Pleasures of Euterpe] EUTERPE is the Muse of Music and Lyric Poetry VOCAL FORMS “Lagrime mie ” Solo Voice and Basso Continuo Recitative I Arioso Bel Canto Aria Ia Recitative Ia Strophic Aria (2 strophes) Recitative Bel Canto Aria Ib VOCAL FORMS MOTET A Sacred Non-liturgical Piece VOCAL FORMS MOTET Prima pratica polyphony continued to be used throughout the seventeenth century. Pure stile antico, exemplified by Palestrina’s style, carried associations of tradition and sanctity. VOCAL FORMS MOTET Over time, basso continuo was added to these motets and the style was updated. VOCAL FORMS MOTET Concerto = Motet with B.C. Concertato = Voices and Instruments VOCAL FORMS MOTET Concertare = “To Work or Dispute Together” VOCAL FORMS LARGE-SCALE CONCERTO VOCAL FORMS LARGE-SCALE CONCERTO For major feast days at large churches Many voices and instruments, sometimes in cori spezzati (divided choirs) Used for settings of Vespers, psalms, and movements of the mass VOCAL FORMS Giovanni Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI Nephew of Andrea Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI “In ecclesiis” (pub.
    [Show full text]
  • AMS San Francisco 2011 Final Abstracts
    American Musicological Society Program & Abstracts 2011 g Program and Abstracts of Papers Read at the American Musicological Society Seventy-Seventh Annual Meeting 10–13 November 011 Hyatt Regency San Francisco, California g AMS 2011 Annual Meeting Edited by Caryl Clark Chair, 11 AMS Program Committee Local Arrangements Committee Alexandra Amati-Camperi, Chair, Kara Gardner, Joseph Sargent Performance Committee Jeffery Kite-Powell, Chair, Alexandra Amati-Camperi, ex officio, David Schulenberg, Steve Swayne Program Committee Caryl Clark, Chair, Emma Dillon, 2012 Chair, David Brackett, Andrew Dell’Antonio, Judith Lochhead, Michael Marissen, Roberta Marvin The AMS would like to thank the following organizations for their generous support: Grace Cathedral San Francisco Conservatory of Music San Francisco Opera San Francisco Symphony Sherman Clay Pianos Sherman Clay has been the exclusive representative of the Steinway & Sons piano since 1891 and is proud to support the 11 Annual Meeting of the American Musicological Society. Program and Abstracts of Papers Read (ISSN 89-1) is published annually for the Annual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological So- ciety for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-841 (e-mail [email protected]).
    [Show full text]
  • Fman As Members of the Literati Circle of the University of California Press Foundation
    Remaking the Song The Ernest Bloch Professorship of Music and the Ernest Bloch Lectures were established at the University of California in 1962 in order to bring distinguished figures in music to the Berkeley campus from time to time. Made possible by the Jacob and Rosa Stern Musical Fund, the professorship was founded in memory of Ernest Bloch (1880–1959), Professor of Music at Berkeley from 1940 to 1959. the ernest bloch professors 1964 Ralph Kirkpatrick 1965 Winton Dean 1966 Roger Sessions 1968 Gerald Abraham 1971 Leonard B. Meyer 1972 Edward T. Cone 1975 Donald Jay Grout 1976 Charles Rosen 1977 Alan Tyson 1980 William Malm 1981 Andrew Porter 1982 Ton De Leeuw 1983 James Haar 1985 Richard Crawford 1986 John Blacking 1987 Gunther Schuller 1988 George Perle 1989 László Somfai 1993 Susan McClary 1994 Wye J. Allanbrook 1995 Jonathan Harvey 1997 Lydia Goehr 1998 Izaly Zemtsovsky 1999 David Huron 2002 Roger Parker Remaking the Song Operatic Visions and Revisions from Handel to Berio Roger Parker UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London The publisher gratefully acknowledges the generous contribution to this book provided by Edmund and Jeannie Kaufman as members of the Literati Circle of the University of California Press Foundation. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]