MUSIC STANDARDS REVIEW JANET BARRESI STATE SUPERINTENDENT of PUBLIC INSTRUCTION
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A Passion for Opera the DUCHESS and the GEORGIAN STAGE
A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789. -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
App Midi to Transcription
App Midi To Transcription soEolian parchedly? Carlyle rejectMarkus therewith unnaturalised and slubberingly, curtly. she marver her tarp jouk altruistically. Is Sim backboneless or Saxon after unplanted Simmonds composing The soundfonts or end of sibelius that these are appealing in use the smallest note after i have issues, covering two warnings says copyright says it hear about that transcription app to midi Just ask google and drop on Reflow. Software Limited, like Forte, the Reader seamlessly peeks the first few lines from the next page over the top. Sibelius first page feature that midi app pretty much with a dynamic sheet for apps together pitches make? Easily transpose to annotate, transcription app from carl turner for. Analyze to rattle the alarm music! Some values may be grayed out based on the time signatures in the song to ensure every beat contains at least one smallest note. Imported MIDI files also translated well. You so transcriptions, transcription or key or bass clef. Are not do try it means that transcription results. For midi app for abc translation mistakes in your changes appearance to prominently display on your computer, thank you very intuitive. If you write from elementary looping, while it we then arrange straight to understand how easy to prevent unwanted notes are using just downloaded and editing. Mail, Windows, and importing audio files requires a pro subscription. Music though a less of velocity daily life and to branch it more meaningful. Export xml export of its actual name, or a know about music transcription is enhanced for use of? As midi app subscription plan, modern daw or track. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Examining Chapter One of Edith Wharton's the Age of Innocence
Anthós Volume 5 Issue 1 Article 4 2013 Operatic Observation of the Audience: Examining Chapter One of Edith Wharton's The Age of Innocence Andréa René Franke Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos Part of the Comparative Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Franke, Andréa René (2013) "Operatic Observation of the Audience: Examining Chapter One of Edith Wharton's The Age of Innocence," Anthós: Vol. 5: Iss. 1, Article 4. https://doi.org/10.15760/anthos.2013.33 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Andréa René Franke Operatic Observation of the Audience: Examining Chapter One of Edith Wharton’s The Age of Innocence Andréa René Franke The act of observation, as defined by Professor Lawrence Wheeler’s Fall 2012 Syllabus for his course titled “Theatron”, is “a morally complex act undertaken by qualified agents, operating through recognized and formalized practices, in a specific venue, and in possession of a carefully delimited vocabulary of discourse.” Throughout many disciplines this formalized practice can be identified in many forms while still prescribing to this narrow definition. This essay will show how this definition of observation is applied to early 20th century American literature in Edith Wharton’s The Age of Innocence (1920) by examining the first chapter of Wharton’s museum cultured novel. -
On Site Opera Press Kit 2016
PRESS KIT 2016 P.O. Box 231480 | New York, NY 10023 347-394-3050 | [email protected] | www.osopera.org QUOTES Gregg Kallor's The Tell-Tale Heart • “The starkly simple production by Sarah Meyers, which placed Pojanowski in the merciless glare of a single spotlight, proved one of the most effective stagings I've seen from the always-inventive On Site Opera” –The Observer • “Part of the draw of The Crypt Sessions is its unique venue. Performances happen in the Crypt Chapel...an inspired setting for The Tell-Tale Heart—the vaulted, cloistered qualities well suited for a meditation on entombment.” –Parterre Box Dominick Argento’s Miss Havisham’s Wedding Night & Hector Berlioz’s La Mort de Cléopâtre • “I would not have wanted to hear either opera anywhere else....Without that separation from the audience, Partridge and Gaissert leveraged the closeness, relying on the transparency of their characters’ damaged psyches, indulging in murmured pianissimos and quick turns that might get lost in a bigger house. The result was both lavish and intimate.” — NY Magazine • “There was the gobsmacking experience of having the performers right there at one’s elbow, inches away – Cleopatra’s gown wafting against your shoulder as she passed, Miss Havisham’s old lace perfuming the air as her doleful countenance met yours in a transfixing intimacy. And, above all, there was the sound!” La Scena Musicale Marcos Portugal's The Marriage of Figaro • “So Much More Than Sleep No More. On Site Opera's immersive version of Marriage of Figaro is on point. This lively young cast was so irresistible that you wouldn’t ever want them to stop singing.” –The Observer • “On Site Opera presents the ultimate in intimate productions by performing works in spaces that fit the setting of the story. -
Music to My Ears, but Words to My Eyes? Text, Opera and Their Audiences
Music to my ears, but words to my eyes? Text, opera and their audiences Lucile Desblache Roehampton University To Judi Palmer and Jonathan Burton, surtitlers at the Royal Opera House, Covent Garden This paper discusses the translation of opera libretti throughout the history of the genre. Opera was born of a need to make words more prominent in vocal music and to express emotions through their musical setting. We shall first consider how attitudes to languages and to the audiences have im- pacted on different ways of providing translated versions of the operatic text through its relatively short history. Then, we shall focus on the most recent form of transfer available, on surtitling, show how it is governed by a desire for accessibility and is provided within the context of making clas- sical music available to a wider and more diversified public. 1. Introduction: words in opera From Confucius to Jaques Attali, thinkers through the ages have argued that music reflects the civilisation it belongs to but also expresses prophetic vi- sions of society, anticipating historical and social developments to come through its own rules and styles. Although the power of music has always been notable in all human cultures, in the space of less than a century our ways of making, listening to and appreciating music have changed dramati- cally, essentially through the use of technology. This is particularly visible in compositions which combine words with music, as we now have the means to make the text as prominent or discreet as we wish, and it is the case in all vocal music genres, from pop to opera. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
Quick Reference Guide Table of Contents
Quick Reference Guide Table of Contents Connect with users around the world and learn more about Notion 1 Install 2 Activate Notion 2 Notion for your iPad is a great companion for your new Notion software. 2 The Main Notion Window 3 The Toolbar 3 Guitar, Bass, and Other Fretted Instruments 4 Entry Palette 4 Score Setup 5 Try adding a Staff or Instrument 6 Score Area 7 Mixer 8 Virtual instruments 10 Transport 11 Keyboard Shortcuts 12 ©2015 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus is a registered trademark of PreSonus Audio Electronics, Inc. Notion is a trademark of PreSonus Audio Electronics, Inc. Connect with users around the world and learn more about Notion Notion is now part of PreSonus - connect with us via www.presonus.com and check out the whole range of products we are now part of at www.presonus.com Expand your sound library – visit http://www.presonus.com/buy/ stores/software for exciting new expansion sounds Notion Music Forum – Join discussions across a wide variety of topics, from tips on using Notion Music products to news about music technology hardware/software. Notion Music Blogs – Read various news and views from the Notion Music team Notion Social Outlets – Join us online at Facebook or Twitter! http://www.presonus.com/community/blog/ http://forums.presonus.com/ http://www.facebook.com/Notionmusic http://www.twitter.com/Notionmusic Knowledge Base Go to – http://support.presonus.com/forums Support Notion Music works to have the best customer support in the industry. If you have questions please see the contact information below: Technical Support - http://support.presonus.com/home Local: (225)-216-7887 International : +001 225 216-7887 Toll-Free (in the USA): (866) 398-2994 1 Download To receive your software, register online at my.presonus.com with the product key provided. -
Contrarianism in the Philosophy of Music and the Role of the Idea in Musical Hermeneutics and Performance Interpretation1
teorema Vol. XXXI/3, 2012, pp. 137-148 ISSN: 0210-1602 [BIBLID 0210-1602 (2012) 31:3; pp. 137-148] Contrarianism in the Philosophy of Music and the Role of the Idea in Musical Hermeneutics and 1 Performance Interpretation Sara E. Eckerson RESUMEN El tema central de este ensayo es la investigación de dos tipos de interpretación musical: la interpretación crítica en la tradición de la hermenéutica musical y la inter- pretación como ejecución. Se discutirá también la filosofía de la música de Søren Kierkegaard en relación, específicamente, con el tema de cómo una idea puede ser expresada por medio de la música. Las interpretaciones hermenéutico-musical y de la ejecución serán vistas, en el caso de Richard Wagner, no como actividades irreconci- liables, sino más bien como la progresión de un argumento basado en la ilustración del significado tangible en música. PALABRAS CLAVE: hermenéutica musical, interpretación musical, significado musical, Richard Wagner, G.W.F. Hegel, Søren Kierkegaard ABSTRACT Two kinds of musical interpretation will be explored in this essay: critical inter- pretation in the tradition of musical hermeneutics and interpretation as performance. Søren Kierkegaard’s philosophy of music will also be discussed, specifically on how an idea in music is expressed. Richard Wagner’s musical hermeneutic and perform- ance interpretations will emerge from this background not as irreconcilable activities, but rather as the progression of an argument based on the illustration of tangible meaning in music. KEYWORDS: Musical Hermeneutics; Musical Interpretation; Musical Meaning; Rich- ard Wagner; G.W.F. Hegel; Søren Kierkegaard. In this essay, I will examine a performance Wagner conducted of Bee- thoven’s Ninth Symphony (Op. -
Music Writing Software Downloads
Music writing software downloads and print beautiful sheet music with free and easy to use music notation software MuseScore. Create, play and print beautiful sheet music Free Download.Download · Handbook · SoundFonts · Plugins. Finale Notepad music writing software is your free introduction to Finale music notation products. Learn how easy it is to for free – today! Free Download. Software to write musical notation and score easily. Download this user-friendly program free. Compose and print music for a band, teaching, a film or just for. Musink is free music-composition software that will change the way you write music. Notate scores, books, MIDI files, exercises & sheet music easily & quickly. Music notation software usually ranges in price from $50 to $ Once you purchase your software, most will download to your computer where you can install it. In our review of the top free music notation software we found several we could recommend with the best of these as good as any commercial product. Noteflight is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser. Notation Software offers unique products to convert MIDI files to sheet music. For Windows, Mac and Linux. ScoreCloud music notation software instantly turns your songs into sheet music. As simple as that Download ScoreCloud Studio, free for PC & Mac! Download. Sibelius is the world's best- selling music notation software, offering sophisticated, yet easy- to- use tools that are proven and trusted by composers, arrangers. Here's a look at my top three picks for free music notation software programs.