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Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Microphone-Based Electronic Wind Instrument by Feature Extraction from Breath Signals
MICROPHONE-BASED ELECTRONIC WIND INSTRUMENT BY FEATURE EXTRACTION FROM BREATH SIGNALS Francesco Bigoni Pelle Juul Christensen Rasmus Eklund Aalborg University – Copenhagen Aalborg University – Copenhagen Aalborg University – Copenhagen [email protected] [email protected] [email protected] Javier Molina Garcia Cumhur Erkut Aalborg University – Copenhagen Aalborg University – Copenhagen [email protected] [email protected] ABSTRACT of acoustic wind instruments to abstract synthesizers. Although the interfaces for electronic wind instruments An electronic wind instrument is an analog or digital went through many years of development and refinement, electronic instrument actuated by blowing onto an they are still disconnected from their acoustic counterparts electronic sensor. Through the history of electronic wind when it comes to sound production techniques. The instruments, the refinement of the physical interfaces has development of a ”good” saxophone sound requires a large not been followed by major innovations regarding breath degree of control over embouchure, reed pressure, air flow and embouchure detection: the industry is still largely and vocal tract configuration; extended techniques such as relying on pressure sensors for measuring air flow. We growling (singing into the horn while blowing), flutter- argue that many sound production techniques for acoustic tonguing (vibrating the false vocal folds while blowing) wind instruments depend on breath quality in addition and multiphonics (playing several tones at the -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
The Concerto for Bassoon by Andrzej Panufnik
THE CONCERTO FOR BASSOON BY ANDRZEJ PANUFNIK: RELIGION, LIBERATION AND POSTMODERNISM Janelle Ott Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Kathleen Reynolds, Major Professor Eugene Cho, Committee Member John Scott, Committee Member James Scott, Dean of the School of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Ott, Janelle. The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism. Doctor of Musical Arts (Performance), May 2016, 128 pp., 2 charts, 23 musical examples, references, 88 titles. The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik’s understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popiełuszko in 1984. Panufnik’s relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik’s compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. -
Harrison Birtwistle Selected Reviews
Harrison Birtwistle Selected Reviews The Last Supper BBC Scottish Symphony Orchestra (January 2017) "The Last Supper was designed as a millennial work. Convened by Ghost (Susan Bickley), Jesus and his disciples survey some of the miseries visited upon the world since their last meeting in Jerusalem. References to looking through “the three zeros of the year 2000” sounded awkward at the time, as did the hurried apologies to “Jews, blacks, Aborigines, women, gypsies [and] homosexuals”, but Birtwistle’s music has worn well. Its heft and humour spring from the page in sharp flecks of pizzicato strings, sinister tattoos from the side drum, coppery, cimbalom-like chords and thick knots of sound from double basses, low woodwind and accordion. The choral writing (sung by the BBC Singers) is superb." - Anna Picard, The Times **** "When The Last Supper was new, in a pre-9/11 world, some of its concerns felt outmoded. How wrong we were. Now it has proved its enduring pertinence." - Fiona Maddocks, The Observer "Birtwistle’s music feels tremendously lyrical, even opulent 17 years after the opera’s premiere. It’s quite often blunt and uncompromising, but the Latin choral motets that accompany Christ’s three visions summon remarkable poise and focus in his choral writing, and his lengthy foot-washing scene, in which Christ humbles himself before each of his disciples in turn, has an astonishing sense of pathos even amid its wailing orchestration that’s only increased by its inexorable repetitions." - David Kettle, The Arts Desk ***** "Birtwistle’s ritualistic writing is marvellous, layer upon layer of skewed time and perspective underpinned by a grim, grand pace unfolding from the bottom of orchestra. -
A Review of Eight University Clarinet Studios: an Investigation of Pedagogical Style, Content and Philosophy Through Observation and Interviews Margaret Iris Dees
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Review of Eight University Clarinet Studios: An Investigation of Pedagogical Style, Content and Philosophy Through Observation and Interviews Margaret Iris Dees Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A REVIEW OF EIGHT UNIVERSITY CLARINET STUDIOS: AN INVESTIGATION OF PEDAGOGICAL STYLE, CONTENT AND PHILOSOPHY THROUGH OBSERVATIONS AND INTERVIEWS By Margaret Iris Dees 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, 2005 Copyright © 2005 Margaret I. Dees All Rights Reserved The members of the Committee approve the treatise of Margaret I. Dees on November 2, 2005. ______________________ Frank Kowalsky Professor Directing Treatise ______________________ Carolyn Bridger Outside Committee Member _______________________ Eric Ohlsson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This paper is dedicated to Frank Kowalsky. He has been my teacher since 1984, a touchstone throughout my life, and the best editor a reluctant writer could ask for. A special thanks goes to the participating clarinet professors for donating their thoughts and time so freely for this study. I would like to thank Helen Earl for giving me the right books to read and for time in the red chairs; Dan Moseley for his many suggestions, editing expertise, and ability to draw a good bath; Connie Frigo for constant laughter, advice, and panic maintenance; Deborah Bish for shared angst, solutions and inspiration; Jenny Dees for brilliant prose and David Dees for answering his phone. -
A Microtonal Wind Controller Building on Yamaha’S Technology to Facilitate the Performance of Music Based on the “19-EDO” Scale
Bailey, N., South, A., Evans, B. and Hair, G. (2016) A microtonal wind controller building on Yamaha’s technology to facilitate the performance of music based on the “19-EDO” scale. Scottish Music Review, 4(1), This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150676/ Deposited on: 27 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk w e i v e r A Microtonal Wind Controller c i Building on Yamaha’s Technology to Facilitate the s u Performance of Music based on the “19-EDO” scale. m h Nicholas J Bailey Alex South Bill Evans Graham Hair s i t t o c Abstract s We describe a project in which several collaborators adapted an existing instrument to make it capable of playing expressively in music based on the microtonal scale characterised by equal divsion of the octave into 19 tones (“19-EDO”). Our objective was not just to build this in- strument, however, but also to produce a well-formed piece of music which would exploit it idiomatically, in a performance which would provide listeners with a pleasurable and satisfying musical experience. Hence, consideration of the extent and limits of the playing-techniques of the resulting instrument (a “Wind-Controller”) and of appropriate approaches to the composi- tion of music for it were an integral part of the project from the start. -
David Amram: His Life and Five Major Compositions That Utilize the Oboe in a Prominent Role Aaron Ichiro Hilbun
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 David Amram: His Life and Five Major Compositions That Utilize the Oboe in a Prominent Role Aaron Ichiro Hilbun Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC DAVID AMRAM: HIS LIFE AND FIVE MAJOR COMPOSITIONS THAT UTILIZE THE OBOE IN A PROMINENT ROLE by AARON ICHIRO HILBUN A treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2004 The members of the Committee approve the treatise of Aaron Ichiro Hilbun defended on 17 February 2004. ___________________________________ Eric Ohlsson Professor Directing Treatise ___________________________________ Peter Spencer Outside Committee Member ___________________________________ Eva Amsler Committee Member ___________________________________ Jeffrey Keesecker Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank the many people that contributed to the completion of this treatise: the FSU Office of Graduate Studies for providing me with a grant to defray my research expenses; Kurt Doles, for graciously donating his time putting the musical examples into Finale; Gene Caprioglio and Hector Colón in the Clearance Rights Division of C. F. Peters Corporation for granting permission to reprint the -
The Keywi: an Expressive and Accessible Electronic Wind Instrument
The KeyWI: An Expressive and Accessible Electronic Wind Instrument Matthew Caren,a Romain Michon,a;b and Matthew Wrighta aCCRMA, Stanford University, USA bGRAME-CNCM, Lyon, France [email protected] ABSTRACT be used as a platform for development and be replicated by This paper presents the KeyWI, an electronic wind instru- anyone with access to sufficient tools. ment based on the melodica that improves upon limitations in current systems and is general and powerful enough to support a variety of applications. Four opportunities for growth are identified in current electronic wind instrument systems, which then are used to focus the development and evaluation of the instrument. The KeyWI features a breath pressure sensor with a large dynamic range, a keyboard that allows for polyphonic pitch selection, and a completely in- tegrated construction. Sound synthesis is performed with Faust code compiled to the Bela Mini, which offers low- latency audio and a simple yet powerful development work- flow. In order to be as accessible and versatile as possible, the hardware and software is entirely open-source, and fab- rication requires only common maker tools. Figure 1: A KeyWI (without cover), including a Author Keywords Bela Mini, custom PCB, enclosure, and sensors electronic wind instruments, breath controller, digital mu- sical instruments, development platform The KeyWI's design is based on the melodica, a handheld wind instrument where pitches are selected using a piano- style keyboard and dynamics are controlled by blowing into CCS Concepts a mouthpiece attached to the side of the instrument. •Applied computing ! Sound and music comput- The use of a keyboard as a pitch controller rather than the ing; Performing arts; •Hardware ! Sensor devices more common woodwind-key-inspired designs aims to be and platforms; accessible to users who may not have prior experience with the specialized fingerings required for wind instruments, as 1. -
Eolos: a Wireless MIDI Wind Controller
Eolos: a wireless MIDI wind controller Juan Mariano Ramos Desarrollos Tecnológicos Aplicados a las Artes Escuela Universitaria de Artes – Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT wireless operation, but retail at $8301 and $11302 (USD) This paper presents a description of the design and usage of respectively. Eolos' estimated total cost is less than $200 Eolos, a wireless MIDI wind controller. The main goal of Eolos (USD), although it's difficult to establish a precise value due to is to provide an interface that facilitates the production of music component availability, or even the fact that some parts were for any individual, regardless of their playing skills or previous hand crafted. musical knowledge. Its features are: open design, lower cost There are also many well documented non-commercial, open than commercial alternatives, wireless MIDI operation, or DIY related electronic wind instruments. An early initiative rechargeable battery power, graphical user interface, tactile which predates the MIDI era is the Electronic Valve Instrument keys, sensitivity to air pressure, left-right reversible design and (EVI) [3], created by Nyle Steiner in the 1970's, who later two FSR sensors. There is also a mention about its participation helped to design the Akai EWI. in the 1st Collaborative Concert over the Internet between Other more recent products include the Epipe [4] (which Argentina and Cuba "Tradición y Nuevas Sonoridades". features continuous tonehole coverage capacitive sensing), MiniWI3 (based on the EWI), or the CyberWhistle [2]. Eolos, in addition to common characteristics such as breath and finger Author Keywords sensing, features an open design that focuses on the ease of use NIME, Eolos, Wind, Wireless, MIDI Controller, Digital (both for novices and experienced wind players), a low building Musical Instrument cost, and offers a wireless MIDI communication. -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
Conflict and Meaning in Carl Nielsen’S Concerto for Clarinet and Orchestra, Op
CONFLICT AND MEANING IN CARL NIELSEN’S CONCERTO FOR CLARINET AND ORCHESTRA, OP. 57 (1928) DMA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Douglas Monroe, B.M., M.M. ***** The Ohio State University 2008 D.M.A. Document Committee: Approved by: Professor James Pyne, co-Advisor _______________________ Professor Danielle Fosler-Lussier, co-Advisor Co-Advisor Professor Richard Blatti _______________________ Professor Robert Sorton Co-Advisor Music Graduate Program ABSTRACT Carl Nielsen wrote his Concerto for Clarinet, Op. 57 in 1928 for Danish clarinetist Aage Oxenvad. In ascribing meaning to the piece, most Nielsen authorities describe it as a caricature of Oxenvad. Certainly Oxenvad had substantial influence on Nielsen, and many aspects of Oxenvad’s moody and tempestuous personality are captured in the Concerto. Nonetheless, the music has more to do with Nielsen’s life than with Aage Oxenvad’s personality. In 1926, Nielsen suffered a massive heart attack. Until the time of his death in 1931, he suffered many more cardiac incidents. By 1928, Nielsen was facing the last few years of his life without promise of a successful remedy for his heart disease. Nielsen’s Concerto for Clarinet and its inherent conflict have more to do with his internal struggles than with any external influence. The Concerto is the only large-scale work Nielsen composed during the last five years of his life and it is filled with conflict that never resolves. After the introductory chapter, the five chapters that follow document five elements of conflict within the Concerto.