Music-In-Motion.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Allentown Symhpony Orchestra Audition
ALLENTOWN SYMHPONY ORCHESTRA AUDITION REQUIREMENTS VIOLIN SECTION ASSOCIATE CONCERTMASTER & ASSISTANT PRINCIPAL SECTION: Orchestral Excerpts: Brahms Symphony No. 4, Movement I 1. m. 392 to the downbeat of m. 426 Mozart Symphony no. 39, Movement II 2. m. 1 to the end of m. 56 Mozart Symphony no. 39, Movement IV 3. m. 1 to m. 53 Mendelssohn Midsummer’s Night Dream - Scherzo 4. m. 17 to the downbeat of 7 ms. after reh. D Schumann Symphony no. 2 – Movement II - Scherzo 5. Coda (pick-ups to m. 362 to end of m. 397) Prokofiev Symphony no. 1 “Classical” – Movement I 6. beginning to 4 ms. after reh. E R. Strauss Don Juan 7. beginning to the downbeat of 13 ms. after reh. C Beethoven Symphony no. 9 – Movement III 8. Lo’stesso tempo (m. 99 to the end of m. 114) Brahms Symphony no. 1 – Movement IV 9. Reh. A to 2 ms. before reh. B (m. 22 to the end of m. 28) 10. Pick-up to 1 m. before reh. D to the downbeat of 5ms. after reh. F Smetana Bartered Bride Overture (violin 2 part) 11. beginning to the end of m. 33. CONCERTMASTER ASSOCIATE CONCERTMASTER ASSISTANT PRINCIPAL (In addition to Section Repertoire) Rimsky-Korsakov Scheherazade, op. 35 (solos) Movement I 12. m. 14 to the downbeat of m. 18 13. Reh. C to the downbeat of reh. D 14. Reh G to the downbeat of reh. H Movement II 15. m. 1 to the downbeat of m. 5 Movement III 16. 8 ms. after reh. K to the end of b. -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Eino Tamberg: a Catalogue of the Orchestral Music 1954
EINO TAMBERG: A CATALOGUE OF THE ORCHESTRAL MUSIC 1954: Oratorio “For the Liberty of the Nation” for mezzo-soprano, baritone, chorus and orchestra, op.1: 46 minutes 1955: Symphonic Suite “Prince Gabriel” for orchestra, op.2: 19 minutes 1955/2002: “To the Fatherland” for chorus and orchestra, op.116: 6 minutes 1956: Concerto Grosso for chamber orchestra, op.5: 24 minutes + (Bis and Antes cds) 1957: Symphonic Dances for orchestra, op.6: 21 minutes + (Bis cd) 1959: Ballet-Symphony, op.10: 40 minutes (and Ballet) 1962: “The Moonshine Oratorio” for soprano, baritone, two reciters, chorus and orchestra, op. 17: 46 minutes 1963: Ballet “The Boy and the Butterfly”, op.20: 36 minutes 1964: Suite “King Oedipus” for chorus and orchestra, op.11a 1967: Toccata for orchestra, op. 31: 5 minutes 1970: Ballet “Joanna Tentata”, op.37: 85 minutes (and 1972 Ballet Suite, op.37a: 30 minutes- + (Bis cd)) 1970/2006: Music for Trumpet and String Orchestra, op.126 1972: Trumpet Concerto No.1, op. 42: 16 minutes + (Bis cd) 1975: Cantata “Victory Fanfares” for baritone, chorus and orchestra, op.46: 7 minutes 1975/2001: Opening Fanfares for orchestra, op.112: 3 minutes 1977: Overture “October Fanfares”, op. 54: 8 minutes 1978: Symphony No.1, op.57: 22 minutes + (Antes cd) 1979: Cantata “To the Music” for chorus and orchestra, op.60: 12 minutes 1981: Violin Concerto, op. 64: 17 minutes + (Antes cd) Oratorio “Amores” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.65: 32 minutes Cantata “Vivat Estonia” for six soloists, chorus and orchestra, op.66: 6 minutes 1982: Cantata “Alma Mater” for bass, chorus and orchestra, op.67: 12 minutes 1983: Cantata “People in Soldiers’ Coats” for baritone, chorus and orchestra, op. -
Orchestra Bells As a Chamber and Solo Instrument: a Survey Of
ORCHESTRA BELLS AS A CHAMBER AND SOLO INSTRUMENT: A SURVEY OF WORKS BY STEVE REICH, MORTON FELDMAN, FRANCO DONATONI, ROBERT MORRIS, MARTA PTASZYŃSKA, WILL OGDON, STUART SAUNDERS SMITH, LAFAYETTE GILCHRIST AND ROSCOE MITCHELL Mark Samuel Douglass, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Mark Ford, Major Professor Joseph Klein, Relative Field Professor David Bard-Schwarz, Committee Member Benjamin Brand, Director of Graduate Studies and Dean of the College of Music Douglass, Mark Samuel. Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell. Doctor of Musical Arts (Performance), May 2016, 96 pp., 73 musical examples, 11 figures, references, 59 titles. This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s m usical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells. -
Music Director Riccardo Muti Returns to Cso for Two Weeks of Concerts in February
FOR IMMEDIATE RELEASE Contact: January 14, 2016 Eileen Chambers, 312.294.3092 Photos Available By Request: [email protected] MUSIC DIRECTOR RICCARDO MUTI RETURNS TO CSO FOR TWO WEEKS OF CONCERTS IN FEBRUARY February 11–20, 2016 CSO Principal Clarinet Stephen Williamson and CSO Concertmaster Robert Chen Make Solo Appearances with Muti and CSO Muti and Members of CSO Offer Lenten Performance of Haydn’s The Seven Last Words of Our Savior on the Cross with Archbishop Blase J. Cupich at Holy Name Cathedral on February 19 CHICAGO—Music Director Riccardo Muti returns to Chicago in February for two weeks of concerts and activities February 11-20 during the Chicago Symphony Orchestra’s 125th anniversary season. Programs include subscription concerts featuring CSO Principal Clarinet Stephen Williamson (February 11-14) and CSO Concertmaster Robert Chen (February 18-20), a Lenten performance at Holy Name Cathedral with members of the CSO and Archbishop Blase J. Cupich on February 19 and an Open Rehearsal with the Festival Orchestra of the 2016 Chicago Youth in Music Festival on February 15. On February 11-14, Muti leads a program that highlights the CSO strings in a diverse array of works including György Ligeti’s haunting work for string orchestra, Ramifications, and Tchaikovsky’s Serenade for String Orchestra. The previously-announced premiere of CSO Mead Composer-in-Residence Elizabeth Ogonek’s new work for strings and percussion commissioned for the CSO has been postponed until a future date to be announced. Replacing the Ogonek work on the program is Arvo Pärt’s Orient and Occident, an intense and evocative work for strings in a first-ever performance by the CSO. -
An Investigation of Dalcroze-Inspired Embodied Movement
AN INVESTIGATION OF DALCROZE-INSPIRED EMBODIED MOVEMENT WITHIN UNDERGRADUATE CONDUCTING COURSEWORK by NICHOLAS J. MARZUOLA Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Nathan B. Kruse Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2019 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Nicholas J. Marzuola, candidate for the degree of Doctor of Philosophy*. (signed) Dr. Nathan B. Kruse (chair of the committee) Dr. Lisa Huisman Koops Dr. Matthew L. Garrett Dr. Anthony Jack (date) March 25, 2019 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Copyright © 2019 by Nicholas J. Marzuola All rights reserved 3 DEDICATION To Allison, my loving wife and best friend. 4 TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 LIST OF FIGURES .......................................................................................................... 10 ACKNOWLEDGEMENTS .............................................................................................. 11 ABSTRACT ...................................................................................................................... 13 CHAPTER ONE, INTRODUCTION ............................................................................... 15 History of Conducting .................................................................................................. -
INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music.