DOCSLIB.ORG

LESSON 2 Music Then and Now

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LESSON 2 Music Then and Now 6-8 GRADE LESSON 2 Music Then and Now SY DO MPH RA O O N L Y O C 2 S 50 YEA R 2019/20 EDUCATION PROGRAMS OF THE COLORADO SYMPHONY Bringing the youth concert experience and the story of Beethoven’s life through real-world topics 1 68 GRADE LESSON 2 Music Then and Now LESSON 2: Music Then and Now SUMMARY LEARNING OBJECTIVE In this lesson, students will investigate ■ Students will compare and contrast the current musical landscape to that of the Classical how and why the musical landscape and Romantic periods through a critical analysis. has simultaneously changed for both ■ Students will demonstrate the ability to listen with attention and purpose to at least the better and the worse. Students will two interpretations of the same excerpt from the rst movement of Beethoven’s Fifth examine how equity in terms of access Symphony before engaging in a whole-class dialogue to articulate the similarities and to music has evolved, in addition to di erences between the excerpts. tackling challenging ethical questions ■ addressing the di erence between cultural Students will analyze and unpack a Mark Twain quote. appropriation and cultural exchange, and ■ Independent Work Option #1: Students will develop 1-2 discussion questions in response what de nes originality and plagiarism. to an 18-minute video about the digital disruption of the music industry. ■ Independent Work Option #2: Students will read a New York Times article explaining the Williams v. Gaye court case and engage in a discourse about cultural appropriation and cultural exchange in relation to this case. LESSON CONNECTIONS Colorado Academic Standards . 2 Learning Objective . 3 Essential Questions. 3 Enduring Understandings. 3 Vocabulary. 3 Materials & Resources. 4 Guiding & Extension Questions . 5 INSTRUCTIONAL FRAMEWORK (Putting lessons into practice) Connection . 6 Teach . 6-8 Demonstration. 9 Active Engagement . 9 Independent or Small Group Work . 10 Share . 10 Link . 10 English Language Learner Tips . 11 Additional Resources . 11 Home Practice . 11 Optional Extensions . 12-14 COLORADOSYMPHONY.ORG 1 68 GRADE LESSON 2 Music Then and Now COLORADO ACADEMIC STANDARDS GRADE 6 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Articulate and justify personal preferences as a music consumer. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Oral Expression and Listening 1. Employ appropriate presentation and collaboration strategies to meet the needs of a given task and purpose. 2. Develop, organize, and present ideas and opinions e ectively. GRADE 7 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Identify and describe the ways in which music is consumed by society. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Reading for All Purposes 1. Summarize and evaluate to show understanding of informational texts. GRADE 8 Colorado Academic Standards in Music: Grade Level Expectation Standard 4. Aesthetic Valuation of Music Grade Level Expectation: 2. Identify and describe ways in which music is selected for use in society. 2020 Colorado Academic Standards / Grade Level Expectation: Reading, Writing, and Communicating Oral Expression and Listening 1. Engage in e ective collaborative discussions and analyze information presented. COLORADOSYMPHONY.ORG 2 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS LEARNING OBJECTIVE ■ Students will compare and contrast the current musical landscape to that of the Classical and Romantic periods through a critical analysis of the following questions: - Who gets to listen? - What do we listen to? - Where do we listen? - When do we listen? - Why do we listen? - How do we listen? ■ Students will demonstrate the ability to listen with attention and purpose to at least two interpretations of the same excerpt from the rst movement of Beethoven’s Fifth Symphony before engaging in a whole-class dialogue to articulate the similarities and di erences between the excerpts. ■ Students will analyze and unpack a Mark Twain quote. ■ Independent Work Option #1: Students will develop 1-2 discussion questions in response to an 18-minute video about the digital disruption of the music industry. ■ Independent Work Option #2: Students will read a New York Times article explaining the Williams v. Gaye court case and engage in a discourse about cultural appropriation and cultural exchange in relation to this case. ESSENTIAL QUESTIONS ■ How does music change as society changes? ■ Does originality exist? If so, how is it possible to determine if something is truly original? ■ What is the di erence between cultural exchange and cultural appropriation? ■ How has the digital age blurred the lines of originality, inspiration, and plagiarism? ENDURING UNDERSTANDINGS ■ Music and society in uence each other. ■ The existence of originality is dependent upon how it is de ned. ■ Cultural exchange and cultural appropriation are distinct phenomena. ■ The lines of originality, plagiarism, and inspiration have become blurred in the digital age. VOCABULARY • Adaptability • A uent • Appropriation • Aristocracy • Articulation • Authenticity • Benefactor • Commission • Copyright • Copyright infringement • Crescendo • Decrescendo • Digital piracy • Digital revolution • Disruption • Dynamics • Empowerment • Entrepreneurship • Ethics • Excerpt • Exploitation • Innovation • Intent • Nexus • Patronage system • Plagiarism • Resourcefulness • Sampling (a.k.a. “Lifting” or “Quoting”) • Tempo • Timbre • Transparency • Zeitgeist COLORADOSYMPHONY.ORG 3 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS MATERIALS & RESOURCES ■ Devices with Internet access ■ The Salaries of Famous Composers adzuna.co.uk/blog/2016/05/27/do-you-make-more-money-than-mozart/ ■ Highlights of the Beethoven anniversary year 2020 announced dw.com/en/highlights-of-the-beethoven-anniversary-year-2020-announced/a-42898389 ■ Beethoven Pastoral Project: A Global Statement for the Preservation of Nature beethoven-pastoral-project.com ■ John Eliot Gardiner’s Revolutionary and Romantic Orchestra youtube.com/watch?v=lNtb-ly1I_k ■ A Fifth of Beethoven by Walter Murphy (from Saturday Night Fever) youtube.com/watch?v=2CSg3isHj_A ■ Intel commercial from 2016 remixes Beethoven’s Fifth Symphony youtube.com/watch?v=JU9LoDd_5bo ■ Swarm of 100 Drones Dance to Beethoven’s ‘Symphony No. 5’ In The Night Sky hu post.com/entry/drones-beethoven-intel-world-record_n_5693ae9de4b0a2b6fb70b843 ■ New York Times article ‘Blurred Lines’ Verdict Upheld by Appeals Court nytimes.com/2018/03/21/business/media/blurred-lines-marvin-gaye-copyright.html ■ The Disrupters: How digital is changing the music industry (18 minute video) ey.com/en_gl/digital/the-disrupters--how-digital-is-changing-the-music-industry COLORADOSYMPHONY.ORG 4 68 GRADE LESSON 2 Music Then and Now LESSON CONNECTIONS GUIDING & EXTENSION QUESTIONS ■ How has the composer-performer-audience relationship evolved from Beethoven to present day? What factors have contributed to this change? How has it remained the same? (Consider cellist Yo-Yo Ma’s quote, “I think the purpose of a piece of music is signi cant when it actually lives in somebody else. A composer puts down a code and a performer can activate the code in somebody else. Once it lives in somebody else, it can live in others as well.”) ■ How have changes in the composer-performer-audience relationship resulted in unlikely collaborations and hybrid, fusion, or cross- genres? (e.g. Broadway play Hamilton) ■ Is musical borrowing a form of plagiarism or inspiration? ■ How can one be certain if something is an example of plagiarism or coincidence? ■ How does a composer’s intention contribute to whether or not he or she is deemed a plagiarizer? ■ Do you agree or disagree with Pablo Picasso’s philosophy that “Good artists copy, great artists steal”? (Discuss the idea of “transformative imitation,” or assimilating a good idea and transforming it into something novel.) ■ How has the business side of the musical ecosystem changed since Beethoven’s time? (Consider traditional record labels representing artists, commissions, entrepreneurship, digital income, and exponential increase in musical business transactions as a result of streaming and downloading services.) ■ How has the digital age disrupted the traditional music industry model? ■ How has the digital age both economically helped and hurt new musicians? Seasoned musicians? ■ Have musicians earned greater creative control and independence since Beethoven’s time? If so, how? If not, why? ■ Since Beethoven’s time, has music become more inclusive and accessible? Explain. ■ Is it possible to listen to Beethoven’s Fifth Symphony with “19th century ears”? ■ Does Beethoven’s Music sound di erent 250 years later? Explain. ■ Has some of Beethoven’s music become a cliché as a result of rampant appropriation? ■ Why does Beethoven’s 5th Symphony continue to have such broad appeal and application? ■ How has Beethoven’s 5th Symphony been subject to adaptations over time? ■ How has the way we listen to music fundamentally changed since Beethoven? ■ How did the rising middle-class during the Romantic era contribute to the changing role of music in society? ■ Does musical borrowing (“sampling”) help music evolve, or is it merely a form of cultural appropriation, or outright plagiarism? ■ Johannes Brahms was a German-born composer whose compositions
Load more

Recommended publications
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • Virtual Musical Field Trip with Maestro Andrew Crust
    YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make.
    [Show full text]
  • Beethoven's 250Th Birthday Music Room Objects
    Beethoven’s 250th Birthday Music Room Objects Portrait of Beethoven (altered a bit for the festivities). This year we are celebrating the 250th birthday of the enduringly popular composer Ludwig van Beethoven who was born around December 17, 1770 (his baptism date). Beethoven never married, but there has been much speculation about whom he wrote the piece Für Elise. Two portraits on the wall are of women who are possible “candidates.” Portrait of Elisabeth Röckel. “According to a 2010 study by Klaus Martin Kopitz, there is evidence that the piece was written for the 17-year-old German soprano singer Elisabeth Röckel (1793–1883)... who played Florestan in the 1806 revival of Beethoven's opera Fidelio. "Elise", as she was called by a parish priest (later she called herself "Betty"), had been a friend of Beethoven's since 1808, who, according to Kopitz, perhaps wanted to marry her.” (from Wikipedia’s Für Elise entry) Portrait of Therese Malfatti. “Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",[10] a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he supposedly proposed in 1810.” (from Wikipedia’s Für Elise entry) Portrait of Daniel Steibelt. Steibelt was one of Europe's most renowned piano virtuosos, competed against Beethoven in an improvisation contest. “Steibelt, realising he was not only being comprehensively outplayed but humiliated, strode out of the room. Prince Lobkowitz hurried after him, returning a few moments later to say Steibelt had said he would never again set foot in Vienna as long as Beethoven lived there.” (from The man who dared to challenge Beethoven to a musical duel in Vienna) Beethoven’s Broadwood fortepiano.
    [Show full text]
  • Stage Acoustics for Symphony Orchestras in Concert Halls This Is the Medium Resolution (96Dpi) Version
    akuTEK www.akutek.info PRESENTS The PhD thesis by Jens Jørgen Dammerud: Stage Acoustics for Symphony Orchestras in Concert Halls This is the medium resolution (96dpi) version. Click for full resolution (5.5MB) akuTEK navigation: Home Papers Title Index Stage Acoustics Concert Hall Acoustics STAGE ACOUSTICS FOR SYMPHONY ORCHESTRAS IN CONCERT HALLS Submitted by Jens Jørgen Dammerud for the degree of Doctor of Philosophy of the University of Bath September 2009 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no information derived from it may be published without the prior written consent of the author. This thesis may be made available for consultation within the University library and may be photocopied or lent to other libraries for the purposes of consultation. Acknowledgments I would like to thank everyone who has generously contributed to the work forming this thesis: First of all the musicians of professional symphony orchestras who have taken part in discussions (in alphabetical order): David Daly, Chris Gale, Gunnar Ihlen, Kevin Morgan, Finn Orestad, Torbjørn Ottersen, Mike Smith, Geir Solum and Bengt Arstad.˚ I would also like to thank all the musicians who responded to questionnaires, the contact persons within all the symphony orchestras who kindly collaborated in this project and my wife Silje Marie Skeie for all useful input as
    [Show full text]
  • LEONARD BERNSTEIN Symphony No
    GUERRERO CONDUCTS BERNSTEIN with the NASHVILLE SYMPHONY CLASSICAL SERIES FRIDAY & SATURDAY, APRIL 5 & 6, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JUN IWASAKI, violin LAILA ROBINS, speaker CONCERT PARTNER MARY WILSON, soprano NASHVILLE SYMPHONY CHORUS TUCKER BIDDLECOMBE, chorus director BLAIR CHILDREN’S CHORUS MARY BIDDLECOMBE, artistic director MICHAEL TORKE Adjustable Wrench KURT WEILL Concerto for Violin and Wind Orchestra, Op. 12 Andante con moto Notturno-Cadenza-Serenata Allegro molto, un poco agitato Jun Iwasaki, violin – INTERMISSION – LEONARD BERNSTEIN Symphony No. 3, “Kaddish” (1963 version) I. Invocation — Kaddish 1 II. Din-Torah — Kaddish 2 III. Scherzo — Kaddish 3 — Finale Laila Robins, speaker Mary Wilson, soprano Nashville Symphony Chorus Blair Children’s Chorus This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY. This concert will last 2 hours, including a 20-minute intermission. INCONCERT 23 TONIGHT’S CONCERT AT A GLANCE MICHAEL TORKE Adjustable Wrench • Michael Torke emerged on the new music scene in the 1980s with a style that combines elements of Minimalism, jazz and popular music. Adjustable Wrench dates from 1987 and comes from a body of work that reflects an array of influences ranging from Bartók and Philip Glass to Chaka Khan and the Talking Heads. • Torke originally composed this piece for a chamber ensemble of 15 players divided into three groups, each comprised of four instruments paired with a keyboard instrument: woodwinds with piano, brass with marimba, and strings with a synthesizer. The composer however, adapted the score to make it suitable for an orchestra by allowing the string parts to be performed by multiple musicians.
    [Show full text]
  • Selected Discography
    479 of 522 selected discography 6932 Lawrence / LOVE SAVES THE DAY / sheet The following discography lists all of the recordings referred to in Love Saves the Day. It provides basic information on the name of the artist, the title of the recording, the name of the label that originally released the recording, and the year in which the recording was first released. Entries are listed in alphabetical order, first according to the name of the artist, and subsequently according to the title of the recording. Albums are highlighted in italics, whereas individual album cuts, seven-inch singles, and twelve-inch singles are written in normal typeface. Abaco Dream. ‘‘Life and Death in G & A.’’ , . Area Code . ‘‘Stone Fox Chase.’’ Polydor, . Ashford & Simpson. ‘‘Found a Cure.’’ Warner Bros., . '.‘‘It Seems to Hang On.’’ Warner Bros., . '. ‘‘Over and Over.’’ Warner Bros., . '. ‘‘Stay Free.’’ Warner Bros., . Atmosfear. ‘‘Dancing in Outer Space.’’ Elite, . Auger, Brian, & the Trinity. ‘‘Listen Here.’’ , . Ayers, Roy, Ubiquity. ‘‘Don’t Stop the Feeling.’’ Polydor, . '. ‘‘Running Away.’’ Polydor, . Babe Ruth. ‘‘The Mexican.’’ Harvest, . Barrabas. Barrabas. , . '. ‘‘Wild Safari.’’ , . '. ‘‘Woman.’’ , . Barrow, Keith. ‘‘Turn Me Up.’’ Columbia, . Bataan, Joe. ‘‘Aftershower Funk.’’ Mericana, . '. ‘‘Latin Strut.’’ Mericana, . '. ‘‘Rap-O Clap-O.’’ Salsoul, . '. Salsoul. Mericana, . Bean, Carl. ‘‘I Was Born This Way.’’ Motown, . Beatles. ‘‘Here Comes the Sun.’’ Apple, . Tseng 2003.10.1 08:35 481 of 522 !. ‘‘It’s Too Funky in Here.’’ Polydor, . !. ‘‘Mother Popcorn (You Got to Have a Mother for Me).’’ King, . Brown, Peter. ‘‘Do Ya Wanna Get Funky With Me.’’ , . !. ‘‘Love in Our Hearts.’’ , . B. T. Express. ‘‘Do It (’Til You’re Satisfied).’’ Scepter, .
    [Show full text]
  • John Corigliano Was Born Into a Musical
    Symphony No. 1 John Corigliano ohn Corigliano was born into a musical represented the first time in two decades Jfamily; his father (John Corigliano, Sr.) that the company presented a new work it served for more than two decades as con- had commissioned. In March 2000 Corigli- certmaster of the New York Philharmonic. ano won another notable honor: an Acade- As a young composer, he studied with Otto my Award for The Red Violin, his third film Luening at Columbia University and Vit- score, music that has gone on to become torio Giannini at the Manhattan School of popular as a concert work quite apart from Music and worked for nearly a decade with its original cinematic context. This was not Leonard Bernstein on the CBS broadcasts of the only distinction accorded to his music the New York Philharmonic Young People’s for The Red Violin; it also won the Canadian Concerts. Following an early period during Genie Award for best film score, the Quebec which his music — as he has described it Jeutra Award, and the German Critics’ Prize. — was a “tense, histrionic outgrowth of the With his Symphony No. 2 (an expanded ‘clean’ American sound of Barber, Copland, re-composition of his 1995 String Quartet) Harris, and Schuman,” he embraced a pos- he was awarded the Pulitzer Prize for Mu- ture in which Romantic grandeur can rub sic in 2001. Since 1991 Corigliano has been elbows with a modernist musical vocabu- a member of the American Academy of Arts lary. The New York Philharmonic has a long and Letters; in 1992 Musical America named and deep history with his work, having per- him its first Composer of the Year; and in formed 15 of his symphonic compositions 2002 he was honored with the Gold Medal since 1980.
    [Show full text]
  • Holiday Cheer Holiday Cheer
    At Home Holidwiath they Jun eauC Symhpheoney r VIRTUAL CONCERT In Collaboration with Sitka Fine Arts Camp's Holiday Brass Premiers Sunday, December 20, 3:00 PM 2:30 pm Pre-Concert Talk with Franz Felkl & Roger Schmidt Performed at the State Library, Archives, & Museum String and Brass Chamber ensembles juneausymphony.org At Home with the Juneau Symphony Welcome and thank you for joining us for the 58th season of the Juneau Symphony! We are thrilled to share with you the third virtual concert of the season – Holiday Cheer, featuring the Juneau Symphony String Chamber Ensemble and a special collaborative Brass Ensemble made up of the Juneau Symphony Brass and the Sitka Holiday Brass under the leadership of Roger Schmidt and our At Home with the Juneau Symphony fall season Artistic Director, Franz Felkl. During these challenging times of the COVID-19 2020 Board and Staff pandemic, we are grateful for the opportunity Beth Giron Pendleton to continue to share music with you from some President of the most iconic locations in Juneau. We value Connie McKenzie our community and recognize the many Vice President Stan Lujan contributions of businesses and individuals who Past President support us and have included those in this Myrna Elgee digital program as a way of thanking them for Secretary Margaret MacKinnon their ongoing commitment to our mission to Treasurer “foster and create high-quality musical experiences Sharon Barton that contribute to the cultural diversity and vitality Annie Carpeneti Cherie Curry of Alaska’s Capital City.” Nancy Jones Heather Parker We look forward to the day when we can meet Deborah Rudis Neil Slotnick together to share in mainstage concerts at the Christian Veliz Juneau-Douglas High School auditorium, and until then we hope you enjoy this special Franz Felkl Strings Artistic Director concert in the comfort and safety of your home.
    [Show full text]
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • WIND INSTRUMENT USAGES in the SYMPHONIES of GUSTAV MAHLER ' by Donald Irvin Caughill a Thesis Submitted to the Faculty of the SC
    Wind instrument usages in the symphonies of Gustav Mahler, by Donald Irvin Caughill Item Type text; Thesis-Reproduction (electronic) Authors Caughill, Donald I. 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 or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 04:43:50 Link to Item http://hdl.handle.net/10150/318086 WIND INSTRUMENT USAGES IN THE SYMPHONIES OF GUSTAV MAHLER ' by Donald Irvin Caughill A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the. Requirements For the Degree of . MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1972 STATEMENT BY AUTHOR This thesis has heen submitted in. partial fulfillment of re- • guirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that, accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. 'SIGNED: APPROVAL BY THESIS.DIRECTOR This thesis has been approved on the date shown below: E.
    [Show full text]
  • Haydn and Beethoven
    23 Season 2018-2019 Thursday, February 28, at 7:30 The Philadelphia Orchestra Friday, March 1, at 2:00 Saturday, March 2, at 8:00 Nathalie Stutzmann Conductor Benjamin Grosvenor Piano Haydn Symphony No. 94 in G major (“Surprise”) I. Adagio cantabile—Vivace assai II. Andante III. Menuetto: Allegro molto IV. Allegro di molto Beethoven Piano Concerto No. 1 in C major, Op. 15 I. Allegro con brio II. Largo III. Rondo: Allegro Intermission Beethoven Symphony No. 4 in B-flat major, Op. 60 I. Adagio—Allegro vivace II. Adagio III. Allegro vivace IV. Allegro ma non troppo This program runs approximately 2 hours. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. PO Book 27.indd 23 2/20/19 11:31 AM 24 PO Book 27.indd 24 2/20/19 11:31 AM 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage.
    [Show full text]
  • Dance Concert 2008: Gotta Dance!
    Otterbein University Digital Commons @ Otterbein 2007-2008 Season Productions 2001-2010 3-6-2008 Dance Concert 2008: Gotta Dance! Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/production_2007-2008 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Dance Concert 2008: Gotta Dance!" (2008). 2007-2008 Season. 3. https://digitalcommons.otterbein.edu/production_2007-2008/3 This Book is brought to you for free and open access by the Productions 2001-2010 at Digital Commons @ Otterbein. It has been accepted for inclusion in 2007-2008 Season by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. OTTERBEIN COLLEGE DEPARTMENT OF THEATRE & DANCE Presents Dance Concert 2008: Gotta Dance! A Tribute to Dance and Film Artistic Direction STELLA HIATT KANE Costume Design Lighting Design Sound Design MARCIA HAIN DANA WHITE ERIC M. VAN WAGNER Scenic Design MATTHEW BUETTNER March 6-9, 2008 Fritsche Theatre at Cowan Hall Act I____________________ Opening Staged By: Stella Kane Director and Voiceover: Lee Kociela Assistant to the Director: Sarah Hiance Voiceover: Kayla Hall Good Morning- Singin'In the Rain Choreographer: Sue Saurer Music: "Broadway Melody" by Arthur Freed & Nacio Herb Brown "Overture" by Richard M. Sherman & Robert B. Sherman, from Mary Poppins "Good Morning" by Arthur Freed & Nacio Herb Brown, from Singin' in the Rain Dancers:........................... Justin Keller, Claire Longest, Jake Widman Fred Astaire Tribute Choreographer: Jon Devlin Music: "Cheek to Cheek" by frying Berlin, from Top Hat Dancers:........................................................ Lindsay Draper, Sean Peters New York, New York- On the Town Choreographer: Stella Kane Assistant to the Choreographer: Jake Widman Music: "New York, New York" by Leonard Bernstein, from On The Town Dancers:.......................................................
    [Show full text]