Mars by Gustav Holst Music Lesson for the Week Beginning 27Th April Background – the Composer
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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
GENERAL MUSIC Grade 3
GENERAL MUSIC Grade 3 Course Overview: Grade 3 students will engage in a wide variety of music activities, including singing, playing instruments, and dancing. Music notation is addressed through reading rhythm subdivisions to sixteenth notes, multiple beat notations, and reading five note melodic notations on a five line staff. They also continue building the foundation of musical vocabulary. NOTE: Throughout this document, learning target types are identified as knowledge (“K”), reasoning (“R”), skill (“S”), or product (“P”). NATIONAL STANDARD 1: Students sing, alone and with others, a varied repertoire of music. Benchmark 1: Students sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo. Learning Targets (Type): 1) I can label a melody that moves by step, skip, or repeat when I listen to a so n g or sing a song. (R) 2) I can identify steps, skips, and repeats when I see them on a treble staff. (K) 3) I can play the steady beat with body percussion or on an instrument when I sing a song. (S) 4) I can play the melodic rhythm of the song using body percussion or unpitched percussion instruments. (S) Benchmark 2: Students sing expressively, with appropriate dynamics, phrasing, and interpretation. Learning Targets (Type): 1) I can make and perform a dynamic plan for a song using p, mp, mf, and f. (S) 2) I can count the number of phrases in a song. (K) Benchmark 3: Students sing from memory a varied repertoire of songs representing genres and styles from diverse cultures. Learning Targets (Type): 1) I can sing holiday music from around the world in December. -
John Corigliano's Fantasia on an Ostinato, Miguel Del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles
Graduate Theses, Dissertations, and Problem Reports 2016 Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano's Fantasia on an Ostinato, Miguel del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles Tse Wei Chai Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Chai, Tse Wei, "Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano's Fantasia on an Ostinato, Miguel del Aguila's Conga for Piano, and William Bolcom's Nine New Bagatelles" (2016). Graduate Theses, Dissertations, and Problem Reports. 5331. https://researchrepository.wvu.edu/etd/5331 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Pedagogical and Performance Aspects of Three American Compositions for Solo Piano: John Corigliano’s Fantasia on an Ostinato, Miguel del Aguila’s Conga for Piano, and William Bolcom’s Nine New Bagatelles Tse Wei Chai A Doctoral Research Project submitted to The College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, D.M.A., Committee Chair & Research Advisor Peter Amstutz, D.M.A. -
Reading Comprehension Gustav Holst
Gustav Holst Comprehension Gustav Holst was born in Cheltenham on September 21st 1874. He came from a line of talented musicians. Holst was taught how to play the piano by his father, however a problem with his nerves ruled out a career as a pianist. He later took up the trombone instead. His first conducting job was with a local church choir which he found to be excellent experience. Holst attended the Royal College of Music where he studied composition and met fellow student, Ralph Vaughn Williams, another great composer. The two became great friends for life. Holst’s wife was a soprano. He instantly fell in love with her but she was not particularly impressed by him at first. For a while, he supported himself and his wife by playing the trombone professionally alongside composing in his spare time. Holst became a teacher and worked at St Paul’s Girls’ School, Hammersmith where they opened a new music wing in his honour in 1913. The music wing housed a sound-proof room where Holst could work without being disturbed. Holst became very interested in astrology which was the inspiration for his best known piece, ‘The Planets’. This launched him into real stardom, however he was never happy to be in the limelight as he was a shy man. The first performance of ‘The Planets’ was given in September 1918. Each movement describes the planet’s character, for example, Venus is the bringer of peace, Uranus is about a magician and Saturn is based on the bringer of old age. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Hooks and Riffs A
SECONDARY/KEY STAGE 3 M U S I C – H O O K S A N D R I F F S K NOWLEDGE ORGANISER Exploring Repeated Musical Patterns Hooks and Riffs A. Key Words B. Famous Hooks, Riffs and Ostinatos C. Music Theory HOOK – A ‘musical hook’ is usually the ‘catchy bit’ of REPEAT SYMBOL – A musical symbol the song that you will remember. It is often short and Bass Line Riff from “Sweet Dreams” – The Eurythmics used in staff notation used and repeated in different places throughout the consisting of two piece. HOOKS can either be a: vertical dots followed by MELODIC HOOK – a HOOK based on the instruments Riff from “Word Up” – Cameo double bar lines and the singers showing the performer RHYTHMIC HOOK – a HOOK based on the patterns in should go back to either the start of the drums and bass parts or a the piece or to the corresponding VERBAL/LYRICAL HOOK – a HOOK based on the Rhythmic Riff from “We Will Rock You” – Queen sign facing the other way and repeat rhyming and/or repeated words of the chorus. that section of music. RIFF – A repeated musical pattern often used in the TREBLE CLEF – A musical introduction and instrumental breaks in a song or piece Vocal and Melodic Hook from “We Will Rock You” – Queen symbol showing that of music. RIFFS can be rhythmic, melodic or lyrical, notes are to be short and repeated. performed at a higher OSTINATO – A repeated musical pattern. The same pitch. Also called the G Rhythmic Ostinato from “Bolero” - Ravel meaning as the word RIFF but used when describing clef since it indicates repeated musical patterns in “classical” and some that the second line up is the note G. -
Scheme of Work: Riffs, Ostinati and Loops
Scheme of work: Focus - Riffs, Ostinati and Loops This resource is a scheme of work to help you teach our GCSE Music specification (8271). The subject content of the four areas of study focuses strongly on the musical elements. We recommend that the three components (understanding music, performing and composing) are taught holistically. This scheme of work is designed to strengthen the connection between listening, performing and composing. It highlights how many of the musical elements are universal and can be applied across different genres and styles of music. You can adapt this scheme of work to suit a variety of circumstances. It covers: all four areas of study how to integrate listening, performing and composing to support progression through the activities the relationship between the area of study and the musical elements to demonstrate universality musical elements taken from the area of study musical elements tables in the specification. Focus: Riffs, Ostinati and Loops Area of study one: Musical language/elements Melody: conjunct, scalic, arpeggio, passing notes, diatonic, ostinato Harmony: diatonic, perfect, imperfect Tonality: major, minor, modulation Structure: theme and variations Sonority: string timbre, arco Texture: homophonic, contrapuntal, imitation , canon Tempo, Metre, Rhythm: simple, triplet Dynamics/Articulation: pp, p, mp, mf, f, ff, crescendo, diminuendo Phrasing: legato, staccato Area of study two: Musical language/elements Melody: riff, pitch bend, vibrato, improvisation, blue notes Harmony: power chords, -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live. -
Sample Teaching and Learning Outline the Arts – Music
SAMPLE TEACHING AND LEARNING OUTLINE THE ARTS – MUSIC YEAR 4 Copyright © School Curriculum and Standards Authority, 2018 This document – apart from any third party copyright material contained in it – may be freely copied, or communicated on an intranet, for non-commercial purposes in educational institutions, provided that the School Curriculum and Standards Authority is acknowledged as the copyright owner, and that the Authority’s moral rights are not infringed. Copying or communication for any other purpose can be done only within the terms of the Copyright Act 1968 or with prior written permission of the School Curriculum and Standards Authority. Copying or communication of any third party copyright material can be done only within the terms of the Copyright Act 1968 or with permission of the copyright owners. Any content in this document that has been derived from the Australian Curriculum may be used under the terms of the Creative Commons Attribution 4.0 International (CC BY) licence. Disclaimer Any resources such as texts, websites and so on that may be referred to in this document are provided as examples of resources that teachers can use to support their teaching and learning programs. Their inclusion does not imply that they are mandatory or that they are the only resources relevant to the learning area syllabus. 2018/53833v3 The Arts | Music | Year 4 | Sample Teaching and Learning Outline Time allocation on which the sample teaching and learning outline is based One hour of teaching per week for one school term (10 weeks). Music key concepts embedded Ideas Skills . rhythm . timbre . texture . -
GUSTAV HOLST (1874 - 1934) 1 a Fugal Overture Op
SRCD.222 STEREO ADD GUSTAV HOLST (1874 - 1934) 1 A Fugal Overture Op. 40 No. 1 (1922)* * (5'12") 2 A Somerset Rhapsody Op. 21 No. 2 (1906 - 7) (9'01") Beni Mora - Oriental Suite Op. 29 No. 1 (1909 - 10) (17'13") 3 First Dance 4 Second Dance Fugal Overture 5 In the Street of the Ouled Näils Somerset Rhapsody 6 Hammersmith - A Prelude & Scherzo Beni Mora for Orchestra Op. 52 (1930 - 1931) (13'40") Hammersmith 7 Scherzo (1933 - 4) (5'29") Scherzo Japanese Suite Op. 33 (1915)* (11'04") Japanese Suite 8 Prelude - Song of the Fisherman 9 Ceremonial Dance 10 Dance of the Marionette 11 Interlude - Song of the Fisherman 12 Dance under the Cherry Tree 13 Finale - Dance of the Wolves London Philharmonic Orchestra *London Symphony Orchestra conducted by Sir Adrian Boult The above individual timings will normally include two pauses, one before the beginning and one after the end of each work or movement. P 1972 * P 1971 ** P 1968 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering P 1992 Lyrita Recorded Edition, England. C 1992 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the U.K. London Philharmonic Orchestra London Symphony Orchestra LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita • by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK 8 1 the very end, when it was too late, he found it. Holst composed between 1914 and 1916. He had completed six of the movements, leaving only to be written, when he broke off in 1915 to compose the This was written at the request of a Japanese dancer, Michio Ito, who was appearing at the London Coliseum and wanted a work based on ancient Japanese melodies. -
Modal Prolongational Structure in Selected Sacred Choral
MODAL PROLONGATIONAL STRUCTURE IN SELECTED SACRED CHORAL COMPOSITIONS BY GUSTAV HOLST AND RALPH VAUGHAN WILLIAMS by TIMOTHY PAUL FRANCIS A DISSERTATION Presented to the S!hoo" o# Mus%! and Dan!e and the Graduate S!hoo" o# the Un%'ers%ty o# Ore(on %n part%&" f$"#%""*ent o# the re+$%re*ents #or the degree o# Do!tor o# P %"oso)hy ,une 2./- DISSERTATION APPROVAL PAGE Student: T%*othy P&$" Fran!%s T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s T %s d%ssertat%on has been ac!e)ted and ap)ro'ed in part%&" f$"#%""*ent o# the re+$%re*ents for the Do!tor o# P %"oso)hy de(ree in the S!hoo" o# Musi! and Dan!e by0 Dr1 J&!k Boss C &%r)erson Dr1 Ste) en Rod(ers Me*ber Dr1 S &ron P&$" Me*ber Dr1 Ste) en J1 Shoe*&2er Outs%de Me*ber and 3%*ber"y Andre4s Espy V%!e President for Rese&r!h & Inno'at%on6Dean o# the Gr&duate S!hoo" Or%(%n&" ap)ro'&" signatures are on f%"e w%th the Un%'ersity o# Ore(on Grad$ate S!hoo"1 Degree a4arded June 2./- %% 7-./- T%*othy Fran!%s T %s work is l%!ensed under a Creat%'e Co**ons Attr%but%on8NonCo**er!%&"8NoDer%'s 31. Un%ted States L%!ense1 %%% DISSERTATION ABSTRACT T%*othy P&$" Fran!%s Do!tor o# P %"oso)hy S!hoo" o# Musi! and Dan!e ,une 2./- T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s W %"e so*e co*)osers at the be(%nn%n( o# the t4entieth century dr%#ted away #ro* ton&" h%erar! %!&" str$!tures, Gustav Ho"st and R&")h Vaughan W%""%&*s sought 4ays o# integrating ton&" ideas w%th ne4 mater%&"s.