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Songs for Piano Alone a Look at Franz Liszt’S Buch Der Lieder Für Piano Allein Books I and Ii
SONGS FOR PIANO ALONE A LOOK AT FRANZ LISZT’S BUCH DER LIEDER FÜR PIANO ALLEIN BOOKS I AND II BY JEREMY RAFAL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music __________________________________ Karen Shaw, Chairperson __________________________________ Edmund Battersby, Committee Member __________________________________ Emile Naoumoff, committee member ii Songs for Piano Alone A Look at Franz Liszt’s Buch der Lieder für Piano allein Books I and II Music circles have often questioned the artistic integrity of piano transcriptions: should they should be on the same par as “original works” or are they merely imitations of somebody else’s work? Franz Liszt produced hundreds of piano transcriptions of works by other composers making him one of the leading piano transcriptionists of all time. While transcriptions are the results of rethinking and remolding pre-existing materials, how should we view the “transcriptions” of the composer’s own original work? Liszt has certainly taken much of his original non-piano works and transcribed them for solo piano. But would these really be transcriptions, or different versions? This thesis explores the question of how transcriptions of Liszt’s own works should be treated, particularly the solo piano pieces in the two books of Buch der Lieder für Piano allein. While some pieces are clearly transcriptions of previous art songs, some pieces should really be characterized as independent piano pieces first before art songs. -
Xavier University Newswire
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 2016-09-07 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (2016). All Xavier Student Newspapers. 773. https://www.exhibit.xavier.edu/student_newspaper/773 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. Published by the students of Xavier University since 1915 Fiat justitia, ruat coelum Volume CII Issue 4 September 7, 2016 Flash floods damage campus buildings BY REGINA WRIGHT ZDVQHUYHZUDFNLQJZDONLQJEDFN )ORRGLQJ DOVR RFFXUUHG LQ WKH FKHFNHG WKH ÁRRUV DQG ZDOOV WR ZDLWLQJ IRU WKH UDLQIDOO WR VWRS Campus News Editor WR P\ URRP EHFDXVH P\ URRP $OO IRU 2QH 6KRS LQ 86WDWLRQ FRQÀUPWKDWWKH\ZHUHGU\DQG DQG ZDWHU WR FOHDU 1XPHURXV 6ZDPSHG E\ ÀYHSOXV LQFKHV PDWHVFDOOHGDQGKDGWRPRYHDOO WKH$OXPQL&HQWHU6FKPLGW)LHOG LQVRPHDUHDVWKHERWWRPVRI WKH UDPSVDQGSDVVDJHVXQGHUEULGJ RI ZDWHULQWZRKRXUVWKH;DYLHU RI RXUEHORQJLQJVRQWRSRI WKH +RXVH WKH WHQQLV FRXUWV DQG WKH ZDOOVKDGWREHWDNHQRXWWRDYRLG HVZHUHVXEPHUJHG FDPSXV DQG FRPPXQLW\ DUH VWLOO EHGVDQGWDEOHVEHFDXVHWKHUHZDV &LQWDV &HQWHU EDVHPHQW 7KUHH WUDSSHGPRLVWXUH ´2QP\ZD\WR;DYLHU,DF FOHDQLQJ XS WKH DIWHUPDWK IURP DJLDQWSXGGOHQHDURXUZLQGRZ -
On Diversity*
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace ON DIVERSITY* AMY CIMINI AND JAIRO MORENO DIVERSE: to “turn apart” (ME & OFr < L diversus, pp. of divertere, to turn aside < dis-, apart + vertere, to turn). he word “diverse,” etymology informs us, appears in the thirteenth century, perhaps in T analogy with a term used in geometry, “transverse.” Roughly four and a half centuries later, the word’s meaning becomes more or less fixed: an adjective signifying “different in char- acter or quality.” Late in the 1930s, “diverse” emerges as a verb to designate a new imperative in U.S. economics: to diversify, meaning the careful quantitative distribution of various invest- ments. By 1978, in a landmark United States Supreme Court ruling on university admissions, the word “diversity,” now a noun, comes to inscribe both a qualitative distinction of ethno-cultural groups and their quantitative distribution in institutions of higher education. Although the balance between quality and quantity, as well as their definition, was subject of much legal dispute, the notion became widely accepted that diversity of representation of various groups was fundamental to the educational mission of the university and the well-being of the social field. Whenever we speak of diversity in the U.S., we invoke the spirit of the Supreme Court’s definition. * The authors would like to thank Ana María Ochoa for comments on a draft of this article, and Clara Latham for expert research assistance. Jairo Moreno also thanks Philip Ewell and Frederick Bashour for the invitation to participate in the 2007 Society for Music Theory diversity panel in Baltimore. -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Ariadne Auf Naxos: a Study in Transformation Through Contrast and Coalescence
Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence By Copyright 2015 Etta Fung Submitted to the graduate degree program in Vocal Performance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Julia Broxholm ________________________________ Paul Laird ________________________________ David Alan Street ________________________________ Joyce Castle ________________________________ Michelle Heffner Hayes Date Defended: 5/4/2015 i The Thesis Committee for Etta Fung certifies that this is the approved version of the following thesis: Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence _______________________________ Chairperson Julia Broxholm Date approved: 5/13/15 ii Abstract Ariadne auf Naxos, by composer Richard Strauss and librettist Hugo von Hofmannsthal, concerns the simultaneous performance of a tragedy and a comedy at a rich man’s house in Vienna, and the conflicts that arise between the two groups. The primary focus of this paper is the character Zerbinetta, a coloratura soprano who is the main performer in the commedia dell’arte troupe. Following consideration of the opera’s historical background, the first segment of this paper examines Zerbinetta’s duet with the young Composer starting from “Nein Herr, so kommt es nicht…” in the Prologue, which reveals her coquettish yet complex character. The second section offers a detailed description of her twelve-minute aria “Großmächtige Prinzessin” in the opera, exploring the show’s various levels of satire. The last segment is an investigation of the differing perspectives of the performers and the audience during Zerbinetta’s tour de force. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Definitive Collection of Stax Records' Singles to Be
FOR IMMEDIATE RELEASE: DEFINITIVE COLLECTION OF STAX RECORDS’ SINGLES TO BE REISSUED Two volumes, due out December 16, 2014 and Spring 2015, cover 1968-1975. Volumes to be made available digitally for first time. LOS ANGELES, Calif. — Concord Music Group and Stax Records are proud to announce the digital release and physical reissue of two comprehensive box set titles: The Complete Stax/Volt Soul Singles, Vol. 2: 1968-1971 and The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975. Originally released in 1993 and 1994, respectively, these two compilations will be re-released back into the physical market in compact and sleek new packaging. Each set includes full-color booklets with in-depth essays by Stax historian and compilations co- producer Rob Bowman. The volumes feature stalwart Stax R&B artists including Isaac Hayes, the Staple Singers, Rufus Thomas, Johnnie Taylor, Carla Thomas, the Bar-Kays and William Bell, as well as bluesmen Little Milton, Albert King and Little Sonny, and “second generation” Stax hitmakers like Jean Knight, the Soul Children, Kim Weston, the Temprees, and Mel & Tim. Many of the tracks included in these collections will be made available digitally for the very first time. The story of the great Memphis soul label Stax/Volt can be divided into two distinct eras: the period from 1959 through the beginning of 1968, when the company was distributed by Atlantic and was developing its influential sound and image (chronicled in acclaimed 9-CD box set The Complete Stax/Volt Singles 1959-1968, released by Atlantic in 1991); and the post-Atlantic years, from May 1968 through the end of 1975, when Stax/Volt began its transition from a small, down-home enterprise to a corporate soul powerhouse. -
Vol. 23, No. 8 August 2019 You Can’T Buy It
ABSOLUTELY FREE Vol. 23, No. 8 August 2019 You Can’t Buy It As Above, So Below Artwork is by Diane Nations and is part of her exhibit Under the Influence of Jung on view at Artworks Gallery in Winston-Salem, North Carolina through August 31, 2019. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Artworks Gallery (Winston-Salem) - Diane Nations Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 5 - Wells Gallery at the Sanctuary & Halsey MCallum Studio Page 4 - Redux Contemporary Art Center & Charleston Artist Guild Page 6 - Thomas Dixon for Mayor & Jesse Williams District 6 Page 5 - Charleston Museum & Robert Lange Studios Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 6 - Robert Lange Studios cont., Ella Walton Richardson Fine Art & Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Lowcountry Artists Gallery The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Page 9 - Lowcountry Artists Gallery cont. & Halsey Institute / College of Charleston Page 8 - Halsey Institute / College of Charleston Page 10 - Halsey Institute / College of Charleston & Art League of Hilton Head Page 9 - Whimsy Joy Page 11 - Art League of Hilton Head cont. & Society of Bluffton Artists Page 10 - Halsey Institute -
Beethoven to Drake Featuring Daniel Bernard Roumain, Composer & Violinist
125 YEARS Beethoven to Drake Featuring Daniel Bernard Roumain, composer & violinist TEACHER RESOURCE GUIDE 87TH Annual Young People’s Concert William Boughton, Music Director Thank you for taking the NHSO’s musical journey: Beethoven to Drake Dear teachers, Many of us were so lucky to have such dedicated and passionate music teachers growing up that we decided to “take the plunge” ourselves and go into the field. In a time when we must prove how essential the arts are to a child’s growth, the NHSO is committed to supporting the dedication, passion, and excitement that you give to your students on a daily basis. We look forward to traveling down these roads this season with you and your students, and are excited to present the amazing Daniel Bernard Roumain. As a gifted composer and performer who crosses multiple musical genres, DBR inspires audience members with his unique take on Hip Hop, traditional Haitian music, and Classical music. This concert will take you and your students through the history of music - from the masters of several centuries ago up through today’s popular artists. This resource guide is meant to be a starting point for creation of your own lesson plans that you can tailor directly to the needs of your individual classrooms. The information included in each unit is organized in list form to quickly enable you to pick and choose facts and activities that will benefit your students. Each activity supports one or more of the Core Arts standards and each of the writing activities support at least one of the CCSS E/LA anchor standards for writing. -
Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
April 2021 Vol.22, No. 4 the Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected]
Journal April 2021 Vol.22, No. 4 The Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected] April 2021 Vol. 22, No. 4 Editorial 3 President Sir Mark Elder, CH, CBE Ballads and Demons: a context for The Black Knight 5 Julian Rushton Vice-President & Past President Julian Lloyd Webber Elgar and Longfellow 13 Arthur Reynolds Vice-Presidents Diana McVeagh Four Days in April 1920 23 Dame Janet Baker, CH, DBE Some notes regarding the death and burial of Alice Elgar Leonard Slatkin Relf Clark Sir Andrew Davis, CBE Christopher Robinson, CVO, CBE Book reviews 36 Andrew Neill Arthur Reynolds, Relf Clark Martyn Brabbins Tasmin Little, OBE CD Reviews 44 Christopher Morley, Neil Mantle, John Knowles, Adrian Brown, Chairman Tully Potter, Andrew Neill, Steven Halls, Kevin Mitchell, David Morris Neil Mantle, MBE DVD Review 58 Vice-Chairman Andrew Keener Stuart Freed 100 Years Ago... 60 Treasurer Kevin Mitchell Peter Smith Secretary George Smart The Editors do not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Portrait photograph of Longfellow taken at ‘Freshfields’, Isle of Wight in 1868 by Julia Margaret Cameron. Courtesy National Park Service, Longfellow Historical Site. Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much Editorial preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if required, are obtained. Professor Russell Stinson, the musicologist, in his chapter on Elgar in his recently issued Bach’s Legacy (reviewed in this issue) states that Elgar had ‘one of the greatest minds in English music’.1 Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, This is a bold claim when considering the array of intellectual ability in English music ranging cued into the text, and have captions. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of