The Spread of “Tonal Form” : Music in the Seventeenth and Eighteent
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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Release Sheet
November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig -
Originally Adaptated from French and Flemish Chansons, the Canzon Is a Type of Instrumental Music That Was Popularized in the 16Th and 17Th Centuries
Originally adaptated from French and Flemish chansons, the canzon is a type of instrumental music that was popularized in the 16th and 17th centuries. Most often characterized with the opening dactylic rhythm (long, short, short), the canzon da sonar (chanson to be played) became independent of earlier vocal models in the 1570s, and by 1600 had become the most important form of instrumental music in Italy. Ensemble canzoni were composed by all sorts of musicians—from the master composer/organist Giovanni Gabrieli with his multi- choired works for the ceremonies at San Marco in Venice, to lesser-known Northern European composers like Erasmus Widmann, who spent most of his career working as court musician in the region of Germany near Nuremberg. Widmann’s canzoni, included in his Gantz Neue Cantzon, Intraden, Balletten und Couranten (Nuremberg, 1618) were considered his finest instrumental works. Strikingly similar to the Venetian canzoni of earlier decades, these canzoni were described by composer Michael Praetorius—the greatest musical academic of the day—as “fresh, joyful, and fast.” While most of the Venetian canzoni of the period are written in four parts, Widmann composed his instrumental music in five parts much like the music of his contemporaries Brade and Simpson. This scoring, with two equal soprano parts, makes Widmann’s canzoni particularly well suited to adaptation by the modern brass quintet. Charles Whittenberg's Little Fantasy on Bach's Advent-Chorale: “Nun komm, der heiden Heiland” (Cantata #62) had its premiere performance at Philharmonic Hall, Lincoln Center on December 31, 1968. After a statement of the Chorale theme, Whittenberg develops the material in a brilliant fashion. -
Halle, the City of Music a Journey Through the History of Music
HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Citymac 2018
CityMac 2018 City, University of London, 5–7 July 2018 Sponsored by the Society for Music Analysis and Blackwell Wiley Organiser: Dr Shay Loya Programme and Abstracts SMA If you are using this booklet electronically, click on the session you want to get to for that session’s abstract. Like the SMA on Facebook: www.facebook.com/SocietyforMusicAnalysis Follow the SMA on Twitter: @SocMusAnalysis Conference Hashtag: #CityMAC Thursday, 5 July 2018 09.00 – 10.00 Registration (College reception with refreshments in Great Hall, Level 1) 10.00 – 10.30 Welcome (Performance Space); continued by 10.30 – 12.30 Panel: What is the Future of Music Analysis in Ethnomusicology? Discussant: Bryon Dueck Chloë Alaghband-Zadeh (Loughborough University), Joe Browning (University of Oxford), Sue Miller (Leeds Beckett University), Laudan Nooshin (City, University of London), Lara Pearson (Max Planck Institute for Empirical Aesthetic) 12.30 – 14.00 Lunch (Great Hall, Level 1) 14.00 – 15.30 Session 1 Session 1a: Analysing Regional Transculturation (PS) Chair: Richard Widdess . Luis Gimenez Amoros (University of the Western Cape): Social mobility and mobilization of Shona music in Southern Rhodesia and Zimbabwe . Behrang Nikaeen (Independent): Ashiq Music in Iran and its relationship with Popular Music: A Preliminary Report . George Pioustin: Constructing the ‘Indigenous Music’: An Analysis of the Music of the Syrian Christians of Malabar Post Vernacularization Session 1b: Exploring Musical Theories (AG08) Chair: Kenneth Smith . Barry Mitchell (Rose Bruford College of Theatre and Performance): Do the ideas in André Pogoriloffsky's The Music of the Temporalists have any practical application? . John Muniz (University of Arizona): ‘The ear alone must judge’: Harmonic Meta-Theory in Weber’s Versuch . -
Concerto Dos Clérigos
CONCERTO DOS CLÉRIGOS 0 1 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JEAN – BAPTISTE LULLY ( 1632-1687) Marche pour la cérémonie des Turcs Ópera “Armide” : Ouverture, Marche, Gavotta GIUSEPPE SAMMARTINI (1695- 1750) Sonata op. 2 n. 4 JAN PIETERSZOON SWEELINCK (1562-1621) Ballo del Granduca JOHANN SEBASTIAN BACH (1685 – 1750) Concerto nº1 em Sol Maior de Antonio Vivaldi O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 2 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JOHANN SEBASTIAN BACH ( 1685 – 1750) Concerto nº 7 em Fá M BWV 978 de Antonio Vivaldi Allegro Largo Allegro Concerto nº 5 em Dó M, BWV 976 de Antonio Vivaldi Allegro Largo Allegro O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 3 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A JEAN-PHILIPPE RAMEAU ( 1683-1764) Les Sauvages Le tamborin JOHANN SEBASTIAN BACH ( 1685 – 1750) Preludio e fuga n5 BWV 850 Invenção nº 1 BWV 772 nº4 BWV 775 nº8 BWV 779 sinfonia nº7 BWV 793 ALESSANDRO MARCELLO ( 1673 – 1747) Concerto em Ré menor O r g a n i s t a : F e r n a n d o C r u z O r g a n i z a ç ã o : A p o i o s : CONCERTO DOS CLÉRIGOS 0 4 / j u l h o | 1 2 h 0 0 I g r e j a d o s C l é r i g o s P R O G R A M A ANTÓNIO SOLER (1729- 1783) Sonata nº 1 Lá Maior Sonata nº9 Dó Maior Sonata nº 54 Dó Maior “De Clarines” JOHANN PACHELBEL (1653- 1706) Chaconne em Fá menor JOHANN SEBASTIAN BACH ( 1685 – -
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631 Sunday Masses / Misas Dominicales Saturday Anticipatory / Sábado Anticipatoria 5:30 p.m.—English 7:00 p.m.—Español Sunday / Domingo: 6:30 a.m.—English 11:15 a.m.—English 7:45 a.m.—Español 1:00 p.m.—Español 9:30 a.m.—English 5:30 p.m.—English (Youth) Weekday Masses / Misas entre Semana: Monday/Lunes: 7:45 a.m.—English 5:30 p.m.—English Tuesday/Martes: 7:45 a.m.—English Wednesday/Miércoles: 7:45 a.m.—English 5:30 p.m.—English Thursday/Jueves: 7:45 a.m.—English Friday/Viernes: 7:45 a.m.—Español 5:30 p.m.—English Confessions / Confesiones: Saturday/Sábado: 4:00 p.m. Monday/Lunes: 8:15 a.m. December 17, 2017 Third Sunday of Advent Parish Staff / Personal Parroquial (562) 691-0533 olglahabra.org Rev. Edward Becker, Pastor Parish Office Hours / Rev. Benjamin Hoang, Parochial Vicar Horario de la Oficina Parroquial: Rev. Ruben Ruiz, Parochial Vicar Monday—Thursday: 8:30 am—7:30 pm Rev. Msgr. Justin MacCarthy, Pastor Emeritus de Lunes a Jueves Deacon José Luís Rodriguez, Deacon Friday & Saturday: 8:30 am—5:30 pm Deacon José Manuel Chavez, Deacon Viernes y Sábado Sunday / Domingo: 8:30 am—1:00 pm Scott Miller, Business Manager Doris von Rotz, Liturgy Director and Communications Adoration of the Blessed Sacrament: Director First weekday of each month Stephanie Ruiz, Director of Faith Formation for Pre- Adoración de la Santísimo Sacramento: school and Elementary Primer día laborable de cada mes Ray Hernandez, Youth Minister and Director of Faith For Baptisms, Weddings, Funerals and other Sacra- Formation for Junior High, High School and Young ments, please check the parish website or call the Adults parish office for more information. -
Gloria in D RV 589
Antonio VIVALDI Gloria in D RV 589 Soli (SSA), Coro (SATB) Oboe, Tromba 2 Violini, Viola, Basso continuo (Violoncello/Fagotto/Contrabbasso ed Organo) mit einem Vorwort und Kritischen Bericht von with a Foreword and Critical Report by Uwe Wolf herausgegeben von/edited by Günter Graulich Stuttgarter Vivaldi-Ausgaben Urtext Partitur/Full score C Carus 40.001/50 Inhalt Vorwort III Foreword IV 1. Gloria in excelsis Deo (Coro) 1 2. Et in terra pax (Coro) 10 3. Laudamus te (Soprano solo I e II) 19 4. Gratias agimus tibi (Coro) 24 5. Propter magnam gloriam tuam (Coro) 24 6. Domine Deus (Soprano solo) 27 7. Domine Fili unigenite (Coro) 30 8. Domine Deus, Agnus Dei (Alto solo e Coro) 38 9. Qui tollis peccata mundi (Coro) 42 10. Qui sedes ad dexteram Patris (Alto solo) 44 11. Quoniam tu solus sanctus (Coro) 49 12. Cum Sancto Spiritu (Coro) 52 Kritischer Bericht 62 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 40.001/50), Klavierauszug (Carus 40.001/53), Klavierauszug XL Großdruck (Carus 40.001/54), Chorpartitur (Carus 40.001/55), komplettes Orchestermaterial (Carus 40.001/69). The following performance material is available for this work: Full score (Carus 40.001/50), vocal score (Carus 40.001/53), vocal score XL in larger print (Carus 40.001/54), choral score (Carus 40.001/55), complete orchestral material (Carus 40.001/69). Das Gloria RV 589 wurde vom Estonian Philharmonic Chamber Choir unter Leitung von Tõnu Kaljuste auf CD eingespielt (Carus 83.325). The Gloria RV 589 is available on Carus CD with the Estonian Philharmonic Chamber Choir under the direction of Tõnu Kaljuste (Carus 83.325). -
Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering
Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering By Anya B. Holland-Barry A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 08/24/2012 This dissertation is approved by the following members of the Final Oral Committee: Susan C. Cook, Professor, Music Charles Dill, Professor, Music Lawrence Earp, Professor, Music Nan Enstad, Professor, History Pamela Potter, Professor, Music i Dedication This dissertation is dedicated to my best creations—my son, Owen Frederick and my unborn daughter, Clara Grace. I hope this dissertation and my musicological career inspires them to always pursue their education and maintain a love for music. ii Acknowledgements This dissertation grew out of a seminar I took with Susan C. Cook during my first semester at the University of Wisconsin. Her enthusiasm for music written during the First World War and her passion for research on gender and music were contagious and inspired me to continue in a similar direction. I thank my dissertation advisor, Susan C. Cook, for her endless inspiration, encouragement, editing, patience, and humor throughout my graduate career and the dissertation process. In addition, I thank my dissertation committee—Charles Dill, Lawrence Earp, Nan Enstad, and Pamela Potter—for their guidance, editing, and conversations that also helped produce this dissertation over the years. My undergraduate advisor, Susan Pickett, originally inspired me to pursue research on women composers and if it were not for her, I would not have continued on to my PhD in musicology. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Expanding the Choral Conductor's Horizon
ABSTRACT Title of Dissertation: EXPANDING THE CHORAL CONDUCTOR’S HORIZON: THE APPLICATION OF SELECTED LITERARY THEORIES TO THE PROCESS OF CHORAL SCORE STUDY Gary B. Seighman, Doctor of Musical Arts, 2009 Dissertation directed by: Professor Edward Maclary School of Music The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader’s expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies.