Complete Index,1973-2019 Harpsichord & Fortepiano
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Index (Complete)
Sample page from Pianos Inside Out. Copyright © 2013 Mario Igrec. 527 Index composite parts 375 rails, repairing 240 facing off 439 Numerics compressed 68 rebuilding, overview 325 grooved, effects on tuning 132 105 System 336 diagram 64 regulating 166 reducing height of 439 16th Tone Piano 94 Double Repetition in verticals 77 regulating on the bench 141 replacing 436 1867 Exposition in Paris 13 double-escapement 5, 12 regulation, effects on tuning 129 to rebuild or replace 326 3M 267, 338 dropped 68, 113, 140, 320 removing 136 Air microfinishing film 202 English 9 removing from keyboard 154 dehumidifying 85 409 89 escapement of jack 76 repairing 240 humidifying 86 Fandrich 68 repetition, speed of 77 Air conditioner 86, 328 frame stability in verticals, Schwander 77 Albert Steinway 13, 76 A inspecting 191 single-escapement 4 Alcohol 144, 145, 147, 155, 156, 158, Abel 66, 71, 72, 340, 383 geometry 273, 303 spread 149, 280, 282, 287, 315 161, 179, 182, 191, 213, 217, 221, hammers 72, 384 geometry troubleshooter 304 tape-check 11 237, 238, 264, 265, 337, 338, 352, Naturals 71 grand, inserting into the piano troubleshooters 304 353, 356, 437, 439, 449, 478 Abrasive cord 338 137 Tubular Metallic Frame 66, 68 as sizing agent 215, 491 Abrasives, in buffing compounds grand, rebuilding 373 vertical 68 as solvent for shellac 480 364 grand, regulating 166 vertical, development of 15 as suspension for blue chalk 449 ABS grand, removing 136 vertical, Double Repetition 77 as suspension for chalk 240, 364, Carbon 17, 66 grand, removing from keyboard vertical, -
1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
English Madrigal School
THE ENGLISH MADRIGAL SCHOOL Transcribed, Scored and Edited by REV. EDMUND HORACE FELLOWES M.A., Mus.Bac, Oxon. VOL. V. ORLANDO GIBBONS First Set of MADRIGALS AND MOTETS OF FIVE PARTS (Published in 1612) LONDON: STAINER AND BELL, LTD., 58, BERNERS STREET, OXFORD STREET, W. 1914 THE^ENGLISH MADRIGAL SCHOOL. LIST OF SUBSCRIBERS To VOLUMES V.-VIII. Dr. Guido Adler, Proressor of Musical Research in Percy C. Buck, Esq., Mus.Doc, Professor of Music in Vienna University. Trinity College, Dublin ; Director of Music, Harrow W. G. Alcock, Esq., M.V.O., Mus.Doc, Organist and School. Composer to His Majesty's Chapels Royal. F. C. Butcher, Esq., Mus.Bac, Organist and Music B, C. Allchin, Esq., Organist of Hertford College, Master, Hoosac School, New York, U.S.A. Oxford. L. S. R. Byrne, Esq. Hugh P. Allen, Esq., Mus.Doc, Choragus of Oxford University, Organist and Fellow of New College, Capt. Maurice Caillard. Oxford. Sir Vincent H. P. Caillard. The Right Hon. Viscount Alverstone, G.C.M.G., Cardiff University College Library. D.C.L., formerly Lord Chief Justice of England. F. Clive Carey, Esq. (2 copies). E. Amphlett, Esq. Rev. T. B. Carter. W. Anstice, Esq. Sir Francis Champneys, Bart., M.D. Mrs. Argles. The City Glee Club. Godfrey E. P. Arkwright, Esq. J. B. Clark, Esq. Miss Marian Arkwright, Mus. Doc. Rev. Allan Coates. Frl. Amaiie Arnheim. Mrs. Somers V. Cocks. Franck Arnold, Esq. H. C. Colles, Esq., Mus.Bac. Miss R. Baines. The Hon. Mrs. Henn Collins. E. L. Bainton, Esq. Mrs. A. S. Commeline. E. C. -
The Double Keyboard Concertos of Carl Philipp Emanuel Bach
The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- 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 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements 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: JAMES R. -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Pedal in Liszt's Piano Music!
! Abstract! The purpose of this study is to discuss the problems that occur when some of Franz Liszt’s original pedal markings are realized on the modern piano. Both the construction and sound of the piano have developed since Liszt’s time. Some of Liszt’s curious long pedal indications produce an interesting sound effect on instruments built in his time. When these pedal markings are realized on modern pianos the sound is not as clear as on a Liszt-time piano and in some cases it is difficult to recognize all the tones in a passage that includes these pedal markings. The precondition of this study is the respectful following of the pedal indications as scored by the composer. Therefore, the study tries to find means of interpretation (excluding the more frequent change of the pedal), which would help to achieve a clearer sound with the !effects of the long pedal on a modern piano.! This study considers the factors that create the difference between the sound quality of Liszt-time and modern instruments. Single tones in different registers have been recorded on both pianos for that purpose. The sound signals from the two pianos have been presented in graphic form and an attempt has been made to pinpoint the dissimilarities. In addition, some examples of the long pedal desired by Liszt have been recorded and the sound signals of these examples have been analyzed. The study also deals with certain aspects of the impact of texture and register on the clarity of sound in the case of the long pedal. -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
The Keyboad Sonatas of Domenico Scalatti and Eighteenth-Centuy Musical Style
THE KEYBOAD SONATAS OF DOMENICO SCALATTI AND EIGHTEENTH-CENTUY MUSICAL STYLE W. DEAN SUTCLIFFE St Catharine’sCollege, Cambridge published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 Thisbook isin copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library ISBN 0 521 48140 6 hardback CONTENTS Preface page vii 1 Scarlatti the Interesting Historical Figure 1 2 Panorama 26 Place and treatment in history 26 The dearth of hard facts29 Creative environment 32 Real-life personality 34 The panorama tradition 36 Analysis of sonatas 38 Improvisation 40 Pedagogy 41 Chronology 43 Organology 45 Style classification 49 Style sources 54 Influence 55 Nationalism I 57 Nationalism II 61 Evidence old and new 68 3 Heteroglossia 78 An open invitation to the ear: topic and genre 78 A love-hate relationship? -
The Duality of the Composer-Performer
The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. -
Margaret Catchpole: Two Worlds Apart
Stephen DODGSON Margaret Catchpole: Two Worlds Apart (Chamber opera in four acts) Howden • Wallace • Morris • Ollerenshaw Edgar-Wilson • Brook • Moore • Willcock • Sporsén Perpetuo • Julian Perkins Stephen Act I: By the Banks of the Orwell Act II: The Cobbold Household 1 [Introduction] 2:27 Scene 1: The drawing room at Mrs Cobbold’s house DO(1D924G–20S13O) N ^ 2Scene 1: Harvest time at Priory Farm & You are young (Dr Stebbing) 4:25 3 What an almighty fuss (Luff, Laud) 1:35 Ah! Dr Stebbing and Mr Barry Margaret Catchpole: Two Worlds Apart 4 For so many years (Laud, Luff) 2:09 (Mrs Cobbold, Barry, Margaret) 6:54 Chamber opera in four acts (1979) 5 Oh harvest moon (Margaret, Laud) 5:26 * Under that far and shining sky Interlude to Scene 2 1:28 Libretto by Ronald Fletcher (1921–1992), 6 (Laud, Margaret) 1:35 based on the novel by Richard Cobbold (1797–1877) The harvest is ended Scene 2: Porch – Kitchen/parlour – First performance: 8–10 June 1979 at The Old School, Hadleigh, Suffolk, UK 7 (Denton, Margaret, Laud, Labourers) 2:19 (Drawing room Oh, my goodness gracious – look! I don’t care what you think Margaret Catchpole . Kate Howden, Mezzo-soprano 8 (Mrs Denton, Lucy, Margaret, Denton) 2:23 ) (Alice, Margaret) 2:26 Will Laud . William Wallace, Tenor 9 Margaret? (Barry, Margaret) 3:39 Come in, Margaret John Luff . Nicholas Morris, Bass The ripen’d corn in sheaves is born ¡ (Mrs Cobbold, Margaret) 6:30 (Second Labourer, Denton, First Labourer, John Barry . Alistair Ollerenshaw, Baritone Come then, Alice (Margaret, Alice, Laud) 8:46 0 Mrs Denton, Lucy, Barry) 5:10 ™ Crusoe . -
'Colloquy' CD Booklet.Indd
Colloquy WORKS FOR GUITAR DUO BY PURCELL · PHILIPS · JOHNSON · VAUGHAN WILLIAMS DODGSON · PHIBBS · DOWLAND · MAXWELL DAVIES DUO GUITARTES RALPH VAUGHAN WILLIAMS (1872–1958) COLLOQUY 10. Fantasia on Greensleeves [5.54] JOSEPH PHIBBS (b.1974) Serenade HENRY PURCELL (1659–1695) 11. I. Dialogue [3.54] Suite, Z.661 (arr. Duo Guitartes) 12. II. Corrente [1.03] 1. I. Prelude [1.18] 13. III. Liberamente [2.48] 2. II. Almand [4.14] WORLD PREMIÈRE RECORDING 3. III. Corant [1.30] 4. IV. Saraband [2.47] PETER MAXWELL DAVIES (1934–2016) Three Sanday Places (2009) PETER PHILIPS (c.1561–1628) 14. I. Knowes o’ Yarrow [3.03] 5. Pauana dolorosa Tregian (arr. Duo Guitartes) [6.04] 15. II. Waters of Woo [1.49] JOHN DOWLAND (1563–1626) 16. III. Kettletoft Pier [2.23] 6. Lachrimae antiquae (arr. Duo Guitartes) [1.56] STEPHEN DODGSON (1924–2013) 7. Lachrimae antiquae novae (arr. Duo Guitartes) [1.50] 17. Promenade I [10.04] JOHN JOHNSON (c.1540–1594) TOTAL TIME: [57.15] 8. The Flatt Pavin (arr. Duo Guitartes) [2.08] 9. Variations on Greensleeves (arr. Duo Guitartes) [4.22] DUO GUITARTES STEPHEN DODGSON (1924–2013) Dodgson studied horn and, more importantly to him, composition at the Royal College of Music under Patrick Hadley, R.O. Morris and Anthony Hopkins. He then began teaching music in schools and colleges until 1956 when he returned to the Royal College to teach theory and composition. He was rewarded by the institution in 1981 when he was made a fellow of the College. In the 1950s his music was performed by, amongst others, Evelyn Barbirolli, Neville Marriner, the Philip Jones Brass Ensemble and the composer Gerald Finzi.