Chromatic Function Analysis an Instrument for Improvisation
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Document Cover Page
A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Buxtehude's Pedaliter Keyboard Works: Organ Or Pedal Clavichord?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals of Faculty of Arts, University of Ljubljana K. J. SNYDER • BUXTEHUDE’S PEDALITER ... UDK 780.8:780.649Buxtehude Kerala J. Snyder Eastman School of Music, University of Rochester Eastmanova akademija za glasbo, Univerza v Rochesterju Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord Prejeto: 13. julij 2011 Received: 13th July 2011 Sprejeto: 9. september 2011 Accepted: 9th September 2011 Ključne besede: Buxtehude, klavikord, orgle, Keywords: Buxtehude, clavichord, organ, peda- izvajanje pedaliter [s pedali] liter [or pedals] performance Iz v l e č e k Ab s t r a c t Članek razpravlja o tem, kako naj bi bil Buxtehude This article explores the questions of how Buxte- uporabljal pedalni klavikord pri pouku, reproduk- hude might have used a pedal clavichord for the ciji in komponiranju, zlasti kar zadeva njegove purposes of teaching, performing, and composing, pedalne (pedaliter) preludije. with special reference to his pedaliter praeludia. On May 23, 1675, Dieterich Buxtehude, organist and Werkmeister of St. Mary’s Church in Lübeck, wrote the following entry into the account book of the church: “Saturday. My highly honored directors, upon my—Dieterich Buxtehude’s— humble request (see Memorial, fol. 75), have graciously granted that a small writing and study room be built onto the Werkhaus, over the steps, facing the church courtyard. And this week [the work] began on it.”1 These two positions, one artistic, the other administrative, had been combined at St. -
HL:N Vapaasti Tykitettävät Laulut V. 2011
HL:n vapaasti tykitettävät laulut v. 2011 (olettaen, että tuntemattomat ovat oikeasti tuntemattomia… Jos joku tietää paremmin, ilmoittakoot: hsm(at)hsmry.fi) 1 Pyhä, pyhä, pyhä san. Reginald Heber (k. 1826) suom. Mikael Nyberg (k. 1940) 4 Jumala ompi linnamme san. Martti Luther (k. 1546) suom. Jacobus Petri Finno (Jaakko Suomalainen) (k. 1588) 5 Herralle kiitos ainiaan san. Thomas Ken (k. 1711) suom. tuntematon 7 Armo Jumalan san, Jens Nicolai Ludvig Schjörring (k. 1900) suom. tuntematon 9 Laula Herran rakkaudesta san. Samuel Trevor Francis (k. 19259 suom. tuntematon 10 Laula minulle uudestaan san. Philip Paul Bliss (k. 1876) suom. tuntematon 11 Uskomme Jumalaan san. Saksalainen suom. Julius Leopold Fredrik Krohn (k. 1888) 12 Min lupaapi Herra san. S. C. Kirk (k. 1900-luvulla) suom. tuntematon 13 Suuri Jumala, sinussa san. Josepha Gulseth (k. ?) suom. tuntematon 14 Oi Herra suuri san. Carl Gustaf Boberg (k. 1940) suom. tuntematon 15 Oi Jeesus, sanas ääreen san. Anna Helena Ölander (k. 1939) suom. Tekla Renfors, os. Mömmö (k. 1912) 17 Minä tyydyn Jumalaan san. Benjamin Schmolock (k. 1700-luvulla) suom. tuntematon 18 On Herra suuri san. Anton Valtavuo (k. 1931) 22 Suuri Luoja, kiittäen san. Ignaz Franz (k. 1790) suom. Aina G. Johansson (k. 1932) 24 Tää sana varma san. Joël Blomqvist (k. 1930) suom. tuntematon 26 En etsi valtaa loistoa san. Sakari Topelius (k. 1898) suom. tuntematon 28 Joulu, joulu tullut on san. Olli Vuorinen (k. 1917) 29 Enkeli taivaan san. Martti Luther suom. Hemminki Maskulainen, uud. Julius Krohn (k. 1888) 31 Kun joulu valkeneepi san. Abel Burckhart (k. 1800-luvulla) suom. tuntematon 32 Juhla on rauhainen san. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Bach and the Beaming of Small Note Values David Schulenberg The
Bach and the Beaming of Small Note Values David Schulenberg The grouping of eighth, sixteenth, and smaller notes through beams is an element of notation taken for granted by many musicians. Music editors typically allow beaming to be determined by modern convention—or, increasingly, by software algorithms. Yet beaming, like other notational elements, has a history, and at least some composers have used it, consciously or unconsciously, in ways that suggest meaningful distinctions in the way notes are grouped or left ungrouped. Johann Sebastian Bach is one such composer, and editors of his music have sometimes made conscious decisions about the beaming of small note values in his works. Whether those decisions reflect Bach’s own beaming or have been imposed editorially, and whether or not the distinctions between various types of beaming are meaningful, are the subjects of this paper. The discussion opens with some theoretical considerations, continuing with the examination of beaming in several other repertories (placing Bach’s notation in a historical context), and closing with some observations about actual beaming in Bach’s music. Along the way the author offers perspectives gained from his work as a contributor to an ongoing edition of the music of Bach’s second son Carl Philipp Emanuel. One of the few scholars who have paid even glancing attention to beaming was Heinrich Schenker. Early in the twentieth century he observed several instances in which Mozart and Beethoven seem to have used beaming to reflect what he calls units or unities (Einheiten). For instance, in a passage from Mozart’s second G-minor symphony, Schenker asserts that the beaming in the autograph manuscript clarifies the resolution of a dissonance, that is, a 7–6 progression (ex. -
Mina Psalmböcker Och Annat Psalmrelaterat
Mina psalmböcker och annat psalmrelaterat Uppdaterad den 17 juni 2018 www.psalmbok.se Böcker jag inte har (eller glömt stryka här) ID Kategori Författare/Utgiven av Titel Tryckår Ur Wessmans register. Ej insorterade utgåvor nedan 1687 (dansk), 1690, 1693, Barnabok, hans kongl. höghet kronprinsen i Gustaf Murray och Johan Wellander, underdånighet tilägnad af samfundet Pro fide 1 Har inte Sthlm. Psalmernas väg, nr 193 et christianismo 1780 Som, Efter Hans Kongl Maj:ts Nådigsta Befallning, bör utgifwas (har del 2, 178 - 485 n:r). Sthlm, Lorens Ludvig Grefing. Kallas Celsiska 1765 års - Av Then Swenska Prof-Psalmbok 2 Har inte provpsalmboken Första Samlingen (nr 1-177) 1765 Joachim von Düben d.ä. Stockholm. Tryckt hos Joh. L. Horn. Psalmernas Uthwalde andelige sånger, af tyska språket på 3 Har inte väg, nr 200 swensko tolckade 1725 Jacob Arrhenius. Upsala. Psalmernas 4 Har inte väg, nr 4, 138 Jacobi Arrhenii Psalme-prof 1689 Haquin Spegel. Västerås. Psalmernas En christens gyllende Clenodium eller Siäle- 5 Har inte väg, nr 186 skatt 1688 Ericus Laurentii Norenius. Wästeråhs (förlorad). Psalmernas väg, nr 138, Gudfruchtigheetz öfning, uthi christelig och 6 Har inte 144 upbyggelige sånger om Jesu Christi lijdande 1675 Samuel Columbus & Gustaf Düben d.ä. (jmfr ej beslagen 1694!) Sthlm Johan Georg Eberdt. Psalmernas väg, Odæ sveticæ. Thet är, någre 7 Har inte nr 43. Digital. (finns repr i Syréens) werldsbetrachtelser, sång-wijs författade 1674 8 Har inte Psalmernas väg, nr 104 Tree sköna andelighe wijsor 1642 9 Har inte Basilius Förtsch. Psalmernas väg, nr 42 En andeligh watukälla 1641 Sigfrid Aron Forsius. Psalmernas väg, 10 Har inte nr 147 (ej belagd) En liten psalmbok 1608 11 Har digital Psalmernas väg, nr 71. -
Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol
Performance Practice Review Volume 5 Article 8 Number 1 Spring Music for the Cimbalo Cromatico and the Split- Keyed Instruments in Seventeenth-Century Italy Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1992) "Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol. 5: No. 1, Article 8. DOI: 10.5642/perfpr.199205.01.08 Available at: http://scholarship.claremont.edu/ppr/vol5/iss1/8 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early Baroque Keyboard Instruments Music for the Cimbalo Cromatico and Other Split- Keyed Instruments in Seventeenth-Century Italy* Christopher Stembridge The Concept of the Cimbalo Cromatico Although no example of such an instrument is known to have survived intact, the cimbalo cromatico was a clearly defined type of harpsichord that apparently enjoyed a certain vogue in Italy during the late sixteenth and early seventeenth centuries.1 The earliest use of the term is found in the titles of two toccatas per il cimbalo cromatico included by Ascanio Mayone in his Secondo Libro di Diversi Capricci per Sonare published in Naples in 1609.2 Subsequently the term was used in publications by This is the first of three related articles. The second and third, to be published in subsequent issues of Performance Practice Review, will deal with the instruments themselves. -
Hymns 18 Children of the Heavenly Father
HYMNS, OUR CHRISTIAN HERITAGE LESSON 18 Lower Level – Children of the Heavenly Father PACING: 1 day ESSENTIAL QUESTION, BIG IDEA, and STANDARDS: See Introduction to Hymns, Our Christian Heritage. CONCEPT: Christian hymns are a cherished and valuable legacy, expressing the emotions and experiences of God’s people through many centuries. OBJECTIVES: Learn the text and tune of an important hymn of faith. Interpret the spiritual meaning of the hymn. Understand and communicate important facts about the life of the author of the words and/or the composer of the music. VOCABULARY: hymn, hymn writer, hymnal, text, tune, composer, verse, stanza RESOURCES: Links to performances of the hymn “Children of the Heavenly Father” ü A cappella choir (3:20), https://www.youtube.com/watch?v=-_NqzFGLYyo ü A cappella choir video(2:40), https://www.youtube.com/watch?v=Uyv019Q6884 ü Mormon Tabernacle Choir, orchestral accompaniment (5:32), https://www.youtube.com/watch?v=wAq-PZ6KbF0 ü Mormon Tabernacle Choir, orchestral accompaniment, same as above with different video/photos (4:42), ü , https://www.youtube.com/watch?v=jqAncieXdoI ü Plumb (female vocal), instrumental and vocal, modern sound, words shown (5:29), https://www.youtube.com/watch?v=OV3MelnO90c ü Male vocal, sung in Swedish (2:18) https://www.youtube.com/watch?v=Jwu7SC_dpaY ACTIVITIES: ü Either give each student a printed copy of the hymn, display the hymn for the class electronically or have the students find the hymn “Children of the Heavenly Father” (#101) in the Seventh-day Adventist Hymnal. ü Read the words through together. Discuss what the words mean. -
Edfelt Lic.Cwk
Torgny Lilja Formspråket och »själens palimpsest» i Johannes Edfelts lyrik Licentiatavhandling Stockholms universitet Litteraturvetenskapliga institutionen Vårterminen 2011 Abstract Title: Palimpsest of the Soul—Writing and Intertextuality in the Poetry by Johannes Edfelt (licentiate dissertation) The central thesis the author advocates is that the discourse by the Swedish poet Johannes Edfelt (1904–97) during the years 1932–47 inherits a conflict between tradition and reality. In order to bridge that division, Edfelt strives not only to be a part of history but also to recapture and change its foundations. The licentiate dissertation subordinates both thematic and linguistic microstructure to an intertextual view. These so called alludemes in Edfelt’s poetry often lead to an ancient origin, in several cases to the philosopher Plato, but also to literary works by Dante, William Shakespeare, Jean Racine, Johann Wolfgang von Goethe, Erik Johan Stagnelius, Søren Kierkegaard, Charles Baudelaire, Fyodor Dostoyevsky, Lina Sandell-Berg, Friedrich Nietzsche, August Strindberg, Ernst Josephson, Gustaf Fröding, Erik Axel Karlfeldt, Vilhelm Ekelund, Pär Lagerkvist, Bo Bergman, Martin Buber, Birger Sjöberg, Bertil Malmberg, and Hjalmar Gullberg. This polyphonic murmur of voices from the past creates a dialectical unity, which occurs on a higher level than the traditional monological writing. The conclusion is that only our view of the future can determinate the present and that the artist must not forget this. Reference words: literary theory, intertextuality, -
Dietrich Buxtehude Sacred Cantatas
Dietrich Buxtehude Sacred Cantatas Collegium AD MOSAM, Huub Ehlen 1. Jesu meines Lebens Leben (BuxWV 62) 06:31 2. Befiehl dem Engel, daß er komm (BuxWV 10) 05:08 3. Fürwahr, er trug unsere Krankheit (BuxWV 31) 10:13 4. Gott, hilf mir (BuxWV 34) 14:32 5. Der Herr ist mit mir (BuxWV 15) 07:09 6. Herzlich lieb hab ich dich, o Herr (BuxWV 41) 18:17 TOTAL 61:51 Collegium AD MOSAM Huub Ehlen Soloists: Soprano 1 Hannah Morrison (1, 2, 3, 4, 5, 6) Soprano 2 Hayat Chaoui (1, 3, 4, 6) Alto Hanna Kopra (1, 2, 3, 4, 5, 6) Tenor Immo Schröder (1, 2, 3, 4, 5, 6) Basses Michiel Meijer (1, 3, 4, 6) Benoît Giaux (2, 4, 5, 6) Choir: Soprano 1 Beppie Boode Soprano 2 Anita Koolen Alto Mireille Hoogenberk-Rooijmans Tenors Jan Berkers, Hans Timmermans Basses Jo Louppen, Wim Reijnders Orchestra: Trumpets Anna Freeman, Ralph Henssen (6) Violins Andreas Hempel, Heidi Erberich (1, 2, 3, 4, 5, 6) Violas Arjen de Graaf, Marie Haag (1, 4, 6) Gambas Maaike Boekholt, Christian Zincke (3) Violone Hendrik-Jan Wolfert (1, 2, 3, 4, 5, 6) Theorbo Michael Dücker (1, 2, 3, 4, 5, 6) Organ Tineke Steenbrink (1, 2, 3, 4, 5, 6) 3 Dietrich Buxtehude – Sacred Cantatas Dietrich (Diederik) Buxtehude (Oldesloe 1637 – Lübeck 1707) came from a respectable Danish family of organists. He must have received his initial musical training from his father Johannes, for 30 years organist at the Saint Olau Church in Helsingor. After his study in Copenhagen – we know very little of his musical education – he should, by tradition, have succeeded his father in Helsingor, but it seems the young man had greater ambition. -
September 17, 2020
CALVARY LUTHERAN CHURCH Your Weekly E-Newsletter September 17, 2020 This Week's Pondering ..... Worship Lynnae Douglas, Pastoral Intern Resources Recently, one of our boys NEW! We have begun (in his own unique way) recording the Saturday said “thank you” to Caleb worship service so you can and me for something watch it on Sunday morning! we’d done for him. It was quite simple, but I was You can easily access our stunned. There was no Home Worship Resources coercion tied to his which includes the video of thankfulness. There the service and an Order of wasn’t a preceding, “now Worship that outlines the it’s time to say thank you” service. Click below. from one of his parents. There wasn’t even the slightest bit of insincerity Worship Resources in his voice. From what I could tell, he was truly grateful, and I was amazed. This is a rare occasion in our house, and as a mother, it was a memorable one! The exchange made me pause to consider how many Online times a day Caleb or I tell the boys to say “thank you” in an effort to teach them to be grateful. Sometimes I wonder if Resources this will ever “pay off,” so to speak, or if true gratitude can’t be manufactured through this habitual “repeat-after-me” approach. NEW! "Foretaste of the Feast" Podcast Then I recall that this is almost exactly what our Father in heaven does for us as he calls and leads us in worship, and he does not grow weary in doing it.