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Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano. -
Journal of the American Viola Society Volume 32 Online, Summer 2016
Features: In Review: Tertis Festival and Competition Alessandro Rolla’s Viola Duets An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II Volume 32 Summer 2016 Online Issue 2016 Online Summer 32 Volume Journal of the American ViolaSociety American the of Journal Journal of the American Viola Society A publication of the American Viola Society Summer 2016: Volume 32, Online Issue p. 3 From the Editor p. 5 From the President News & Notes p. 6 Announcements Feature Articles p. 7 In Review: The 12th Lionel Tertis International Viola Festival & Competition: Louise Lansdown and two of her students take us to the Isle of Man, and give a special look at their experience at this famous festival and competition through their studio’s Facebook page. p. 13 Alessandro Rolla’s Viola Duets: Kenneth Martinson examines a very interesting set of viola duets by a composer whose music is not widely known. p. 31 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part II: Analyzing and Performing Musical Play: In this part II article, Edward Klorman explores an analysis of the Mozart “Kegelstatt” Trio. Part I can be found in the previous JAVS Issue (Vol. 32, No. 1). Departments p. 43 The Eclectic Violist: Emilie Catlett takes readers through her personal musical journey, from her background in Texas-style fiddle music to her present music performance studies at the University of Houston. p. 49 Chamber Music: Les Jacobson’s interview with Claudia Lasareff-Mironoff yields some great tips for forming and maintaining your own chamber group. p. 53 Music Reviews: Andrew Braddock reviews two exciting new works for viola. -
The Multi-Percussion Writing of William Kraft in His Encounters Series with Three Recitals of Selected Works of E
37? AS U s*/°, 370' THE MULTI-PERCUSSION WRITING OF WILLIAM KRAFT IN HIS ENCOUNTERS SERIES WITH THREE RECITALS OF SELECTED WORKS OF ERB, PTASZYNSKA, REDEL, SERRY, AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Barry D. Bridwell, B.M., M.M. Denton, Texas May, 1993 37? AS U s*/°, 370' THE MULTI-PERCUSSION WRITING OF WILLIAM KRAFT IN HIS ENCOUNTERS SERIES WITH THREE RECITALS OF SELECTED WORKS OF ERB, PTASZYNSKA, REDEL, SERRY, AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Barry D. Bridwell, B.M., M.M. Denton, Texas May, 1993 $1 Bridwell, Barry D. IT hs_Miiltl-BfiX-Ga.a.slfln_MxlJLing_Q.£. William Kraft_.±n_fll£ Encounters £&h itli_lil£££_B££itaJLs Ql-2 Lks.- <2f ._E£l2 .£££12.2 -&&£.£. X*—3.n d Others. Doctor of Musical Arts (Performance), May, 1993, 107 pp., 5 tables, 12 musical examples, 7 illustrations, bibliography, 49 titles. William Kraft occupies a prominent position in the history of percussion, in that he was one of the first percussionists to receive widespread acclaim as both a performer and a composer. His compositions frequently feature percussion, and his treatment of these instruments reflects the knowledge of a consummate performer. The Encounters series is a collection of ten works which span the years 1966 to 1992, but the majority were composed between 1971 and 1982. For the most part, they are chamber works: six duets, one solo with electronic tape, one solo with quartet accompaniment, and two unaccompanied solos. -
A Catalogue of Twentieth-Century Cello Ensemble Music Ivan M
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A catalogue of twentieth-century cello ensemble music Ivan M. Antonov Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Antonov, Ivan M., "A catalogue of twentieth-century cello ensemble music" (2005). LSU Doctoral Dissertations. 1369. https://digitalcommons.lsu.edu/gradschool_dissertations/1369 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CATALOGUE OF TWENTIETH-CENTURY CELLO ENSEMBLE MUSIC A Monograph 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 Musical Arts in The School of Music by Ivan Milkov Antonov B.M., State Academy of Music, Sofia (Bulgaria), 1994 M.M., University of Central Arkansas, 1996 December 2005 ACKNOWLEDGMENTS I would like to thank the members of my committee for their time and guidance on this project and especially my teacher Dennis Parker. I would like to thank Kevork Mardirossian for his support. I would like to thank my dear friends Bo and Aaron for their tremendous help in so many ways. I couldn’t have done it without you! Special thanks to all the individual composers and music resource centers for their quick response and valuable information. -
The Pedagogical Benefits of Playing Violin Duets: a Historiography
THE PEDAGOGICAL BENEFITS OF PLAYING VIOLIN DUETS: A HISTORIOGRAPHY, PEDAGOGICAL DISCUSSION, AND ANNOTATED REPERTOIRE LIST by CHRISTIAN PAILLAN JENNY GRÉGOIRE, COMMITTEE CHAIR JACOB ADAMS AMIR ZAHERI JOSEPH SARGENT MARY LINDSEY BAILEY MARCOS SANTANDER A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2021 Copyright Christian Paillan 2021 ALL RIGHTS RESERVED ABSTRACT Although duets exist in abundance, they are less taught and performed than other chamber music subgenres, and there is limited historical study and scholarly research about them. This project will explore the didactic advantages of incorporating violin duets into the regular violin study curriculum. The manuscript will include a concise historiography of the pedagogical benefits of violin duets, a pedagogical discussion of selected works for a recital, and an annotated repertoire list of violin duets. The discussion includes pieces that represent diverse musical styles, eras, and levels of difficulty. The elementary level is represented by a selection of pieces from 44 violin duets, by Béla Bartók; 23 Stücke für eine und zwei Geigen, by Paul Hindemith; and Duetti per due violini, by Luciano Berio. For the intermediate level, the discussed works are Canonic Duo No. 3 in D major TWV 40:120, by Georg Philipp Telemann; and two arias from Don Giovanni: für zwei Flöten oder Violinen nach einer Ausgabe um 1809, arranged after the opera by Wolfgang Amadeus Mozart. Finally, the advanced level is represented by Duo concertant in G Minor, Op. 57, No. -
Winter 2019 AR
Published by the American Recorder Society, Vol. LX, No. 4 • www.americanrecorder.org winter 2019 Editor’s ______Note ______ ______ ______ ______ Volume LX, Number 4 Winter 2019 Features omething old, something new: not just The Recorder in the Streams for weddings, but for modern ways to Part I: Unboxing YouTube . 18 enjoyS an instrument with a rich past. A special edition of Recording Reviews Tom Bickley As points out in his first by Tom Bickley article examining the recorder on the inter- Departments net, recordings now appear in a multitude of formats, including as YouTube videos. This Advertiser Index and Classified Ads . 48 variety is reflected in writings in American Recorder, as we try to steer recorder fans in Department of Amplification . 32 Education Editor Mary Halverson Waldo the direction of relevant resources online. describes interleaving, another practice strategy Read his first installment, “Unboxing YouTube” (page 18)—and find out more Education . 7 about this musical and technological phe- In a look back at a classic column, nomenon (as well as what unboxing is). Constance Primus gives advice and resources The articles in the last four issues of to use when taking up the bass recorder AR have focused on practicing. We also have President’s Message . 3 something old and something new to offer ARS President David Podeschi summarizes 80th anniver- here: at the end of the ARS’s the 2019 ARS Annual Members Meeting sary year, we recap a set of articles with strategies for taking up the bass recorder, Response . 31 One more stop on the recorder tube map updated and combined into one piece by the original author, Connie Primus (page 7). -
OLIVEIRA, CAROLINE C., D.M.A. Gwyneth Walker's Use of Melodic
OLIVEIRA, CAROLINE C., D.M.A. Gwyneth Walker’s Use of Melodic Motive and Tonal Centricity to Depict E. E. Cummings’ Poetry in the Cycle “though love be a day.” (2015) Directed by Dr. Robert Wells. 88 pp. I. Opera Role: Thursday, April 11, 2013, 7:30 p.m., Taylor Theatre. Noémie in Cendrillon (Jules Massenet) II. Solo Recital: Sunday, April 21, 2013, 5:30 p.m., Recital Hall. “The Blessed Virgin’s Expostulation” (Henry Purcell, realized by Benjamin Britten); “Suleika I” D. 720 , “Suleika II” D. 717 (Franz Schubert); “Nur wer die Sehnuscht kennt,” “Heiβ mich nicht redden, heiβ mich schweigen,” “So laβt mich scheinen, bis ich werde” from Lieder und Gesänge aus Wilhelm Meister, op. 98a (Robert Schumann); “Solveigs Sang,” “Solveigs Vuggesang” from Peer Gynt, op. 23 (Edvard Grieg); Try Me, Good King Last Words of the Wives of Henvry VIII (Libby Larsen) III. Solo Recital: Sunday, April 13, 2014, 5:30 p.m., Recital Hall. “Wir eilen mit schwachen, doch emsigen Schritten” from Jesu, der du meine Seele, BWV 78 (Johann Sebastian Bach); “Wenn des Kreuzes Bitterkeiten” from Was Gott tut, das ist wohlgetan, BWV 99 (Johann Sebastian Bach); “Слезы,” “В огороде, возле броду,” “Рассвет” from Шесть Дуэтов (Six Duets), op. 46 (Pyotr Ilyich Tchaikovsky); “La pesca” from Soirées musicales (Gioacchino Rossini), “Le gittane” from Péchés de vieillesse (Gioacchino Rossini); Pavane, op. 50 (Gabriel Fauré), El desdichado (Camille Saint-Saëns); Chanson Espagnole (Claude Debussy); “Rede, Mädchen, allzu liebes,” “Die grüne Hopfenranke,” “Ein kleiner, hübscher Vogel,” “Wenn so lind dein Aug emir,” “Am Donaustrande, da steht ein Haus,” “Nein, es ist nicht auszukommen,” “Schlosser auf! Und mache Schlösser,” “Ein dunkeler Schacht ist Liebe,” “Es bebet das Gesträuche” from Liebeslieder Walzer, op. -
Medien- Information
MEDIEN- INFORMATION 11.07.–11.08.13 WWW.IMPULSTANZ.COM (+43-1) 523 55 58 IVO DIMCHEV „I-ON“ © | PEACH FESTIVAL OPENING 9.7. | 21:15 | MQ Trajal HarrellFriends (NYC) & Free Entry! !"#$%#$&%'())*+#%*,%#$&%-(.#(+&%% /+*0+122&%*,%#$&%3(+*)&14%54"*4 IMPRESSUM Intendant Karl Regensburger Künstlerische Beratung Ismael Ivo Künstlerische Leitung [8:tension] ImpulsTanz maîtres de plaisir Christa Spatt | Christine Standfest | francophil & Team Michael Stolhofer | Charlotte Van De Vyver Workshop Office Künstlerische Leitung „Occupy the Museum” Iris Hable | Viktoria Drexler | Team Michael Stolhofer | Ong Keng Sen Publikumsdienst Künstlerische Leitung Workshops & Research Gabriel Schmidinger | Team Rio Rutzinger Online Content Management Dramaturgische Beratung & Abendprogramme Annika Goetz | Marina Losin Christine Standfest International Networking Organisationsentwicklung Marie-Christine Baratta Andreas Barth EU Projects & Scholarship Programme Technische Leitung Hanna Bauer | Marie-Christine Baratta | Harald Godula Rio Rutzinger Presse & PR Unterbringung Joachim Kapuy | Annika Goetz | Marina Losin | Stefanie Fürnsinn Susanne Jaritz | Bettina Lukitsch Marketing Support Marketing & PR Maximilian Pramatarov | Jordan Brusenbach Joachim Kapuy | Silvia Ramsauer | Wolfgang Igler Info Service Gudrun Zimmermann | Johanna Figl ImpulsTanz - Club Alissa Winkler IT Hannes Zellinger Produktion Magdalena Stolhofer | Marina Losin | Transport Anna Wagner Lucia Lechner | Team Artists Communication Technik Arsenal Olivia Schellander | Ajda Es Jakob Zellinger | Rich -
The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)
The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) About the Author Ivan Ćurković teaches musicology at the University of Zagreb (Academy of Music). He studied musicology, comparative literature and Hungarian studies in Zagreb and received his Ph.D. at the Musicology Department of Heidelberg University. His research interests are dramatic vocal genres of the first half of the 18th century with particular emphasis on the works of G. F. Handel and his contemporaries. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. This work is published under the Creative Commons license 4.0 (CC BY-SA 4.0). The online version of this publication is freely available on the ebook-platform of the Heidelberg University Library heiBOOKS http://books.ub.uni-heidelberg.de/heibooks (open access). urn: urn:nbn:de:bsz:16-heibooks-book-290-2 doi: https://doi.org/10.11588/heibooks.290.386 Text © 2017, Ivan Ćurković Layout: Lana Grahek, Zagreb Music engraver: Dario Poljak, Zagreb Proofreader: Claire Holfelder, Speyer Cover image: © The British Library Board. (Bononcini, Giovanni. 1722. Griselda. An Opera as It Was Perform’d at the King’s Theatre for the Royal Academy. London: I. Walsh and Ino. and Ioseph Hare. Shelfmark H.321.b. p. -
The George Lynn Scores and Manuscripts an Inventory of Holdings at the American Music Research Center
The George Lynn scores and manuscripts An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The George Lynn scores and manuscripts Descriptive summary Title George Lynn scores and manuscripts ID COU-AMRC-62 Creator(s) Lynn, George, 1915-1989 Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 32 linear feet Scope and Contents Scores of George Lynn (1915-1989), composer, choral conductor, organist; student of Roy Harris, Randall Thomson and John Finley Wililamson; Assistant professor of Music, University of Colorado at Boulder (1950-52); Music Director, Westminster Choir College (1964-69); Visiting Composer-in-residence, University of New Mexico (1971); Choral conductor, Colorado School of Mines and Lorettor Heights College (1971-86); Visiting professor of choral music, Rice University (1986-87), including published and manuscript scores. Administrative Information Arrangement Arranged alphabetically by genre and title Access Open Publication Rights Copyright is not held by the American Music Research Center. Requests to publish materials should be directed to the copyright holder. Preferred Citation [Identification of item], George Lynn scores and manuscripts, University of Colorado, Boulder - Page 2 - The George Lynn scores and manuscripts Index Terms Access points related to this collection: Personal names Lynn, George, 1915-1989 Corporate names American Music Research Center Subject headings Composers -- Archives Conductors (Music) -- Archives Biography of George Lynn (1915-1989) George Lynn was a nationally celebrated choral conductor, composer, organist and college professor. Born in Wilkes-Barre, Pennsylvania, in 1915, to parents who had immigrated from Sweden, he became a professional church organist at the age of twelve. -
Flute Duet 2008
2008 - 2009 WSMA Event 720 - Flute Duet Music Festival List Teacher Online Data Entry: Enter EventClassSelection, i.e., 720A9. Allotted Performance Time: All Classes = 8 min. 1. A REGULAR Ensemble. A regular ensemble may not be conducted. 2. No Permission or Transfer -This layout 3. Play two contrasting movements on all multi-movement selections unless other instructions are specified. 4. If the length of the music exceeds 3/4 of the allotted performance time, the music may be cut to stay within the time limits. 5. A member of the ensemble is expected to introduce the performance at WSMA District and State Festivals, including performer and accompanist names, name of school, title and composer of piece (and if appropriate, movements being performed), and (Continued) briefly describe a significant aspect of style, form, technique, harmony, rhythm, or melody in the piece. Please go to www.wsmamusic.org for the most accurate Festival Music List and to view recent updates. 720A 10 Belwin Master Duets Adv. Vol. II 720C 1 Six Duets Op. 75 Book I Play one from pgs. 20-22, 23-27, 28-30 1 Belwin Master Duets Easy Vol. 2 Play one mvt. from No. 1; ed. Snell Play any two duets from pgs. 6-32 OR play two contrasting mvts. from Nos. WB ed. Snell 2 or 3 SC Student Composition WB Mozart 2 Infant Holy, Infant Lowly CB-CF 720B arr. Christensen 2 Duo Concertant in G Major IX No. 5 1 A French Trilogy Kendor Play mvt. I or II Play one mvt. 3 12 Country Dances of the Devienne/Stallman Ruge/Yates 17th Century Int Kendor 14222 Play any two 3 Six Petits Duos Faciles Op. -
Dynamic Katalog 2018.Pdf
“[The Dynamic’s Paganini] series is characteristic, lyrical and immensely enjoyable.” – MusicWeb International “Dynamic is to be commended for its pioneering spirit in issuing these as well as the other discs of Paganini rarities.” – Fanfare CDS7734.40 THE PAGANINI COMPLETE EDITION 40-CD Boxed Set CDs 1–3 The six concertos for violin and orchestra * CDs 27–28 Works for solo violin CDs 4–7 Other works for violin and orchestra CDs 29–32 Works for guitar CDs 8–12 Quartets for strings and guitar CDs 33–35 Rare/newly rediscovered works * CDs 13 Trios for strings and guitar CDs 36-38 Salvatore Accardo and CD14 String Quartets Ruggiero Ricci play Paganini CDs 15–17 Other chamber works CDs 39-40 A tribute to Paganini CDs 18–26 Works for violin and guitar * played on Paganini’s violin Dynamic’s very first album was a recording of Paganini’s violin works with esteemed violinist Salvatore Accardo, and in celebration of the label’s 40th anniversary, Dynamic is releasing a 40-CD boxed set of Paganini’s complete works this year. This is a set that belongs in every Paganini and violin aficionado’s music library! For more information, visit www.dynamic.it. DYNAMIC CATALOGUE 2018 Established in 1978 and celebrating its 40th anniversary this year, Dynamic is an independent record label with offices in Villa Quartara, located on the quiet Righi hill overlooking Genoa. Its production schedule embraces the entire field of classical music, but focuses chiefly on the immense heritage of Italian and European music of the 18th and 19th centuries, especially opera and works for violin.