Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
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Oregon Crusaders 2019 Brass Manual
The Oregon Crusaders Brass Manual 2019 Table of Contents Contact Information ........................................................................................................................................................... 3 Audition Guidelines and Recommendations .................................................................................................................. 4 Brass Video Audition Process .......................................................................................................................................... 6 Camp Checklist ................................................................................................................................................................... 7 Equipment............................................................................................................................................................................ 9 Hornline Etiquette ............................................................................................................................................................ 11 Visual Responsibilities ...................................................................................................................................................... 13 Fundamentals of Musicianship ....................................................................................................................................... 19 Chord Adjustments in Just Intonation ......................................................................................................................... -
F. Chopin Op. 10 Etudes “Milestone of the Piano Technic”
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) DOI: 10.7176/ADS Vol.71, 2019 F. Chopin Op. 10 Etudes “Milestone of the Piano Technic” Fahrettin Eren Yahşi State Conservatory, Department of Music, Anadolu University, PO box 26050, Eskisehir, Turkey Abstract F. Chopin has a significant place in piano music as well as the development of piano technique. Op. 10 Etudes which were first published in 1833 represented the first examples of musical technique apprehension which were desired to be done until that period. In this study, the development of early piano technique was presented through the examples from the composers who had studied in this field and the process up to Op. 10 Etudes was analyzed. In the last pat of the study, the innovations introduced by the Op. 10 Etudes and its milestone characteristics in the development of piano technique were mentioned. Keywords: Chopin, Op. 10 Etudes, Early Period Piano Technique, Technical Development, Analysis DOI : 10.7176/ADS/71-03 Publication date :March 31 st 2019 1. Introduction As it is known, pianists who want to maximize their techniques need to perform various exercises. These technical exercises have been formed by the studies which were foreseen by the composers to overcome existing technical problems; many of the composed etudes were added to the piano repertoire with this purpose. Therefore, etudes are essential parts of occupational lives of pianists as necessary works to gain technical proficiency. When technical development is considered as a whole that includes concepts like musicality, finger agility, virtuosity; there are etudes of different composers which have contributed to the development of all these concepts in today’s piano repertoire. -
How to Play the Piano Mark Hambourg
HOW TO PLAY THE PIANO MARK HAMBOURG HOW TO PLAY THE PIANO BY MARK HAMBOURG WITH PRACTICAL ILLUSTRATIONS AND DIAGRAMS AND AN ABRIDGED COMPEN- DIUM OF FIVE-FINGER EXERCISES, SCALES, THIRDS, ARPEGGI, OCTAVES AS PRACTISED BY HIM PHILADELPHIA, PA. THEODORE PRESSER COMPANY FACULTY OF MUSIC 10, lit UNIVERSITY OF TORONTO COPYRIGHT, 1922, BY GEORGE H. DORAN COMPANY 16 1S53 850827, HOW TO PLAY THE PIANO. I PRINTED IN THE UNITED STATES OF AMERICA DEDICATED TO MY FRIEND D. MUIR FOREWORD MARK HAMBOURG was born in Bogutchar in the province of Voronesh, South Russia, on May 3Oth, 1879, and showed promise of great musical talent at such an early age that his father, himself a professor of advanced piano-playing, personally took his musical education in hand, and brought him out at Moscow as a juvenile prodigy in 1889, afterwards taking him to tour in England. In 1891 he left London, whither his family had migrated, and went to study under Leschctitzky in Vienna, where he remained three years. After winning the Liszt Scholarship during that period, he made his debut as a full-grown pianist in 1894 at a Philharmonic Concert in Vienna under the conductorship of Dr. Richter, and a year later made his bow to the London public at a concert of the Philharmonic Society, following this up by giving four recitals of his own as well as fulfilling a number of important engagements in the principal cities of Europe. In 1895 came Mark Hambourg's first Australian tour, which was a sensational success. During the following year he played at many important concerts in England before leaving for a second tour in Australia in 1897. -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I. -
You Can Choose to Be Happy
You Can Choose To Be Happy: “Rise Above” Anxiety, Anger, and Depression with Research Evidence Tom G. Stevens PhD Wheeler-Sutton Publishing Co. YOU CAN CHOOSE TO BE HAPPY: “Rise Above” Anxiety, Anger, and Depression With Research Evidence Tom G. Stevens PhD Wheeler-Sutton Publishing Co. Palm Desert, California 92260 Revised (Second) Edition, 2010 First Edition, 1998; Printings, 2000, 2002. Copyright © 2010 by Tom G. Stevens PhD. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews; or except as provided by U. S. copyright law. For more information address Wheeler-Sutton Publishing Co. The cases mentioned herein are real, but key details were changed to protect identity. This book provides general information about complex issues and is not a substitute for professional help. Anyone needing help for serious problems should see a qualified professional. Printed on acid-free paper. Publisher’s Cataloging-in-Publication Data Stevens, Tom G., Ph.D. 1942- You can choose to be happy: rise above anxiety, anger, and depression./ Tom G. Stevens Ph.D. –2nd ed. p. cm. Includes bibliographical references. ISBN 978-0-9653377-2-4 1. Happiness. 2. Self-actualization (Psychology) I. Title. BF575.H27 S84 2010 (pbk.) 158-dc22 Library of Congress Control Number: 2009943621 CONTENTS INTRODUCTION: ..................................................................................................................... -
Unwrap the Music Concerts with Commentary
UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist. -
Ethics Part Iii. on the Origin and Nature of the Emotions
ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Benedict de Spinoza ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Table of Contents ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS..........................................1 Benedict de Spinoza.................................................................................................................................1 DEFINITIONS.........................................................................................................................................2 POSTULATES........................................................................................................................................2 PROPOSITIONS.....................................................................................................................................2 GENERAL DEFINITION OF THE EMOTIONS.................................................................................32 i ETHICS PART III. ON THE ORIGIN AND NATURE OF THE EMOTIONS. Benedict de Spinoza Translated from the Latin by R.H.M. Elwes This page copyright © 2001 Blackmask Online. http://www.blackmask.com • DEFINITIONS. • POSTULATES. • PROPOSITIONS. • GENERAL DEFINITION OF THE EMOTIONS. MOST writers on the emotions and on human conduct seem to be treating rather of matters outside nature than of natural phenomena following nature's general laws. They appear to conceive man to be situated in nature as a kingdom within a kingdom: for they believe that he disturbs rather than follows nature's order, -
Defining Music As an Emotional Catalyst Through a Sociological Study of Emotions, Gender and Culture
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-2011 All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture Adrienne M. Trier-Bieniek Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Musicology Commons, Music Therapy Commons, and the Sociology Commons Recommended Citation Trier-Bieniek, Adrienne M., "All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture" (2011). Dissertations. 328. https://scholarworks.wmich.edu/dissertations/328 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE. by Adrienne M. Trier-Bieniek A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Advisor: Angela M. Moe, Ph.D. Western Michigan University Kalamazoo, Michigan April 2011 "ALL I AM": DEFINING MUSIC AS AN EMOTIONAL CATALYST THROUGH A SOCIOLOGICAL STUDY OF EMOTIONS, GENDER AND CULTURE Adrienne M. Trier-Bieniek, Ph.D. Western Michigan University, 2011 This dissertation, '"All I Am': Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture", is based in the sociology of emotions, gender and culture and guided by symbolic interactionist and feminist standpoint theory. -
Views, However the Hamburg Council Refused to Release Him from His Obligations
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
A Different Perspective After Brain Injury Will Strike a Chord with People Grappling with Changes to Self in the Context of Any Major Life Change
“This very engaging book, written by a high functioning survivor of a traumatic brain injury, gives an introspective and critical account of what it actually feels like to suffer a brain injury and ‘come through the other side.’ Christopher Yeoh integrates his phenomenological experience of brain injury with science, literature, autobiography, and philosophy, result- ing in an extremely readable account of his experience. It provides a real ‘insider’s view’ of brain injury not possible to capture in a purely academic textbook. For this reason, the book will be of huge importance not only to the individuals and their families affected by brain injury, but also the clini- cians involved in their care and rehabilitation.” – Rudi Coetzer, Consultant Neuropsychologist, North Wales Brain Injury Service, Betsi Cadwaladr UHB NHS Wales and Senior Lecturer in Clinical Neuropsychology, School of Psychology, Bangor University, UK “Christopher’s poignant narrative of his recovery and rehabilitation shows how personal characteristics and social resources interact to overcome the serious aftermath of severe traumatic brain injury. This is a balanced and insightful account of loss, challenge and triumph. He writes with humility and humour, whilst never masking the devastation the injury caused for him and his loved ones. Many inspiring books are written by survivors; A Different Perspective After Brain Injury will strike a chord with people grappling with changes to self in the context of any major life change. This is also an invaluable resource for