Syllabus Baroque Dance for Musicians
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Allemande Johann Herrmann Schein Sheet Music
Allemande Johann Herrmann Schein Sheet Music Download allemande johann herrmann schein sheet music pdf now available in our library. We give you 1 pages partial preview of allemande johann herrmann schein sheet music that you can try for free. This music notes has been read 4280 times and last read at 2021-09-29 13:16:38. In order to continue read the entire sheet music of allemande johann herrmann schein you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon Solo Ensemble: Mixed Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet sheet music has been read 3565 times. Canzon no 23 a baroque madrigal by johann hermann schein for brass quintet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 17:32:11. [ Read More ] Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds sheet music has been read 3664 times. Allemande from the french suite number v by johann sebastian bach arranged for 3 woodwinds arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 13:16:24. [ Read More ] Hinunter Ist Der Sonne Schein Fr Posaunenquartett Hinunter Ist Der Sonne Schein Fr Posaunenquartett sheet music has been read 3235 times. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks. -
Baroque Dance
BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance. -
A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music
Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. By © 2018 Sunjung Lee Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Colin Roust Michael Kirkendoll Hannah Collins Jerel Hilding Date Defended: 4 September 2018 The dissertation committee for Sunjung Lee certifies that this is the approved version of the following dissertation: Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. Chair: Steven Spooner Date Approved: 4 September 2018 ii Abstract This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music. -
Early Organ Composers' Anniversaries in 2014
2014 Anniversaries Early Organ Composers’ Anniversaries in 2014 By John Collins n 2014 there are several composers on Ruggiero, which have been edited of which six are fantasias. Auf meinen Pablo Nassarre (1664–1724). Blind Iwhose anniversaries can be com- by Liuwe Tamminga (vol. 1), and 14 lieben Gott is set for two manuals with- from infancy, he was organist in Zara- memorated, albeit some of the dates ricercars (the first book of 12 published out pedal, Jesus Christus, wahr Gottes goza, and is best known today for his the- are not known for certain. Some of the ricercars set for keyboard together with Sohn is for single manual and pedals, oretical works, Fragmentos músicos and names need no introduction but there a further two thought to be from the sec- and Jesus Christus, unser Heiland has Escuela música, según la práctica mod- are also several lesser-known names ond book), edited by Armando Carideo three separate variations, of which the erna, which are available in facsimile. listed here whose compositions are well (vol. 2); both volumes are published by first includes much use of double pedal. He also left five organ pieces, including worth exploring. No claim is made for Il Levante (available through La Stanza Two further chorale settings in the Pel- three tocatas [sic] edited by José Llorens completeness, and there is no guarantee della Musica). The first set of 12 ricercars pin manuscripts originally attributed to for Diputación Provincial de Barcelona that every edition is in print—there may has also been edited by Christopher Scheidemann have now been tentatively and a tiento partido and two versos from well also be editions by other publishers. -
Program Notesby Victor Gebauer
Program Notes by Victor Gebauer Der 136. Psalm Heinrich Schütz (1585 – 1672) Heinrich Schütz’s world of music expanded during his first trip to Venice (1609-1613) to study with the renowned Giovanni Gabrieli. There he probably frequented the Fondaco dei Tedeschi, a center for German merchants and musicians. The famed Saint Mark’s Cathedral boasted huge spaces that had generated a polychoral style, reflected here in a double chorus and double capella of ensembles plus continuous bass. The first capella declaims the psalm’s refrain (“For God’s mercy endures forever”) while a chorus announces each psalm verse. Schütz later expands the refrain’s sonority in response to the verses, sung in varied registers and textures by a chorus. The final, extensive verse (“Give thanks to the God of heaven . .”) summarizes the entire psalm, splendidly tossing phrases among all ensembles of voices and instruments. Such music both fills the echoing spaces of a great cathedral and envelopes the worshiper with the praises of God. Gelobet seist du, Jesu Christ Johann Hermann Schein (1586 – 1630) Already in 1690, W. K. Printz’s Historische Beschreibung (Historic Portrayal) identified three great S’s in German music (Samuel Scheidt, Heinrich Schütz, and Johann Hermann Schein). All three were noted for combining styles of the 16th century with expressive new conventions of 17th century Baroque music. Schein’s hymn setting is a clear example. The first stanza dates back to the 14th century, additional stanzas were added by Martin Luther, and the melody also emerged during the Reformation. The “Kyrieleis” marks this as a religious hymn of popular origin. -
A Survey of the Loure Through Definitions, Music, and Choreographies
A SURVEY OF THE LOURE THROUGH DEFINITIONS, MUSIC, AND CHOREOGRAPHIES by JULIE ANDRIJESKI Submitted in partial fulfillment of the requirements For the degree of Doctor of Musical Arts Document III Advisor: Dr. Ross Duffin Department of Music CASE WESTERN RESERVE UNIVERSITY May 2006 TABLE OF CONTENTS List of Examples ii List of Tables iii SCOPE OF STUDY 1 SOURCES AND ABBREVIATIONS 4 DATABASE I: LOURE DEFINITIONS 5 Overview 5 Database I 28 DATABASE II: LOURE MUSIC 45 Overview 45 Database II 62 DATABASE III: LOURE CHOREOGRAPHIES 91 Overview 91 Database III 110 CROSS-DATABASE ISSUES 115 Emergence of the Loure through the Works of Lully 115 “L’Aimable vainqueur” and “The Louvre” 127 ALPHABETICAL LIST OF WORKS 130 BIBLIOGRAPHY OF SECONDARY SOURCES 139 ii LIST OF EXAMPLES Example I-1. Loure. Montéclair, Nouvelle méthode, 1709 17 Example I-2. Loure. Montéclair, Méthode facile, 1711 17 Example I-3. Loure. Montéclair, Petite méthode, 1735 19 Example I-4. Loure. Montéclair, Principes de Musique, 1736 20 Example I-5 Loure. Corrette, L’école d’Orphée, 1738 21 Example I-6. Loure. Corrette, Le parfait maître à chanter, 1758 22 Example I-7. Loure. Denis, Nouvelle méthode, 1757 23 Example I-8. Loure. Denis, Nouvelle méthode, 1757 25 Example I-9. Loure. Denis, Nouvelle méthode, 1757 26 Example I-10. Loure. Kirnberger, Recueil d’airs de danse caractéristiques, 1777 27 Example III-1. Campra, “L’Aimable vainqueur” from Hésione (1700) 99 Example III-2. Variation on Campra’s “L’Aimable vainqueur” from Ms-110 99 Example III-3. Comparison of Campra’s “L’Aimable vainqueur” with Ferriol y Boxeraus’s ornamented versions (1745) 101 Example III-4. -
Download Bernard Rose Program Notes
” Sounds in the Sanctuary” – Bethlehem Hebrew Congregation Bernard Rose, piano -- 7/9/2021 J.S Bach: Partita No. 5 in G Major, BVW 829 Praeambulum – Allemande – Corrente – Sarabande – Tempo di Minuetta – Passepied – Gigue Bach’s six keyboard Partitas were composed between 1726 and 1731, with a seventh published as the French Overture in 1735. Partitas are suites consisting of short, two- part dance movements that follow a longer opening prelude. Each partita has a character of its own; as with all, that of the fifth is hard to describe in one word, but cheerful, playful and lyrical all apply. Like all seven, this suite is more than the sum of its parts, as Bach holds brilliantly to a wiry keyboard style and lyrical-comical point of view. This work is set in seven movements. The opening praeambulum displays the composer in comical mode, with lyrical material playing a secondary role. There’s no mistaking that the falling scales followed by simple, flop-down chord sequences of the opening phrase is funny stuff. Later the composer presents it in a more thoughtful guise, but chortling figuration in the left hand keeps comedy in the forefront. Lyricism dominates the allemande, however, where an airy theme of great beauty is decorated with billowing trills and triplets, a common rhythmic device where three notes are 1 squeezed into the space of two. The corrente is a bristling, bustling, airborne version of a quick dance that often displays a hard edge, though not here. The slow sarabande that is the fourth movement seems a more delicate example than many; but the diaphanous tempo di minuetta (minuet) that follows may be the most enchanting movement in the partitas. -
An Analysis of Js Bach's Partita in B Flat Major, Bwv 825; Wa
AN ANALYSIS OF J.S. BACH’S PARTITA IN B FLAT MAJOR, BWV 825; W.A. MOZART’S PIANO SONATA IN D MAJOR, K.576; F. CHOPIN’S MAZURKAS, OPUS 17; A. KHACHATURIAN’S TOCCATA: THEORETICAL, STYLISTIC, AND HISTORICAL BACKGROUND by JUNG WON KIM B.A., Dong-A University, Pusan, South Korea 1986 A REPORT Submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre, and Dance KANSAS STATE UNIVERSITY Manhattan, Kansas 2015 Approved by: Major Professor Dr. Slawomir Dobrzanski Abstract This Master’s report analyzes four piano compositions performed on April 9, 2015 at the author’s Master’s recital. The works under consideration are Johann Sebastian Bach’s Partita in B flat major, BWV 825; Wolfgang Amadeus Mozart’s Piano Sonata in D major, K.576; Fryderyk Chopin’s Four Mazurkas, Opus 17; and Aram Khachaturian’s Toccata. This analysis includes the discussion of the theoretical, stylistic, and historical background of each composition. ii GRADUATE RECITAL SERIES Jung Won Kim Piano Partita in B flat major, BWV 825………………………………...Johann Sebastian Bach (1685-1750) Praeludium – Allemande – Corrente – Sarabande – Minuet I – Minutet II – Gigue Piano Sonata in D major, K.576 ………..…………………Wolfgang Amadeus Mozart (1756-1791) Allegro Adagio Allegretto INTERMISSION Mazurkas, Opus 17 ………………………………………………..………….Frédéric Chopin (1810-1849) No. 1 Vivo e risoluto No. 2 Lento ma non troppo No. 3 Legato assai No. 4 Lento ma non troppo Toccata ………………………………………………………………………..Aram Khachaturian (1903-1978) Allegro marcatissimo Andante espressivo Kansas State University All Faiths Chapel Thursday, April 9, 2015 7:30 PM iii Table of Contents List of Figures ……………………………………………………………….……. -
Six English Suites Johann Sebastian Bach
Six English Suites Johann Sebastian Bach Judith Lambden piano CD1 “I can enjoy and appreciate Lambden’s balanced CD2 1st Suite in A major J S Bach interpretations in a mood of relaxed, unperturbed concentration … thoughtfully appealing, reliably judged.” 4th Suite in F major BWV 806 Howard Smith, Music and Vision BWV 809 1 Prelude 2’34” 1 Prelude 5’56” 2 Allemande 4’43” 2 Allemande 3’50” 3 Courante I 2’19” 3 Courante 1’54” 4 Courante II 2’28” 4 Sarabande 3’48” 5 Double I 1’44” 5 Menuet I 1’30” 6 Double II 1’47” 6 Menuet II 2’12” 7 Sarabande 5’06” 7 Gigue 3’23” 8 Bourrée I 2’23” 9 Bourrée II 2’51” 5th Suite in E minor q0 Gigue 2’40” BWV 810 8 Prelude 5’42” 2nd Suite in A minor 9 Allemande 4’15” BWV 807 q0 Courante 3’00” qa Prelude 5’34” qa Sarabande 3’09” qs Allemande 3’44” qs Passepied I 1’20” qd Courante 2’28” qd Passepied II 2’13” qf Sarabande 4’08” qf Gigue 2’54” qg Bourrée I 2’27” qh Bourrée II 2’39” 6th Suite in D minor qj Gigue 3’39” BWV 811 qg Prelude 8’51” 3rd Suite in G minor qh Allemande 4’01” BWV 808 qj Courante 2’57” qk Prelude 3’36” Six English Suites qk Sarabande 3’30” ql Allemande 3’41” Johann Sebastian Bach ql Gavotte I 2’35” w0 Courante 2’45” w0 Gavotte II 4’12” wa Sarabande 4’29” Judith Lambden piano wa Gigue 3’12” ws Gavotte I 1’48” wd 1’50” Gavotte II P 2011 Move Records wf Gigue 2’46” move.com.au JOHANN SEBASTIAN BACH (1685–1750) Six English Suites BWV 806-811 The English Suites were probably written during Bach’s years as Kappellmeister in Cöthen, or even as early as 1715 while he was still in Weimar – certainly well before the six French Suites and the six Partitas. -
The Popularization of French Dance Throughout Europe, 1600-1750
Musical Offerings Volume 8 Number 2 Fall 2017 Article 3 9-21-2017 French Society Abroad: The Popularization of French Dance throughout Europe, 1600-1750 Adam Paul Rinehart Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Ethnomusicology Commons, Fine Arts Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Rinehart, Adam Paul (2017) "French Society Abroad: The Popularization of French Dance throughout Europe, 1600-1750," Musical Offerings: Vol. 8 : No. 2 , Article 3. DOI: 10.15385/jmo.2017.8.2.3 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol8/iss2/3 French Society Abroad: The Popularization of French Dance throughout Europe, 1600-1750 Document Type Article Abstract This paper explores the dissemination of French dance, dance notation, and dance music throughout Europe, and it explains the reasons why French culture had such an influence on other urE opean societies from 1600-1750. First, the paper seeks to prove that King Louis XIV played a significant oler in the outpour of French dance and the arts. Next, the paper discusses prominent French writers of dance notation who influenced the spread of French dance literature and training throughout Europe.