The Collegium Musiculn the Madrigal Singers
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Southwestern Youth Music Festival • Flute Qualified List (Revised 11/2016) 1
Southwestern Youth Music Festival • Flute Qualified List (revised 11/2016) 1. STUDY includes TOTAL TIME PLAYING THE FLUTE - private lessons, school lessons, class lessons, band, orchestra and group study. 2. Choose one (1) selection from proper category. 3. NO PHOTOCOPIED MUSIC MAY BE USED FOR ANY PURPOSE DURING THE FESTIVAL. THIS INCLUDES AND MUSIC USED BY THE ACCOMPANIST OR GIVEN TO THE JUDGES. 4. Edition is optional. Articulation and ornamentation for Baroque music may be at the discretion of the teacher. Please mark in judge’s copy. 5. No repeats except for DaCapos, except as indicated below. 6. MEMORIZATION IS REQUIRED FOR ALL CATEGORIES AND ALL INSTRUMENTS, EXCEPT IN DUO AND ENSEMBLE CATEGORIES. 7. No First Place winner may re-enter the same category the following year. 8. A student may enter a Qualified Category plus Baroque and American but they may not enter Open. Category One Age 11 and under with less than 2 years of study. Burlesque Mozart p. 3, Belwin Master Solos, Flute Easy Vol 1 Song of Hoe arr. Snell p. 6, Belwin Mast Sol., Flu EZ Vol. 1, ed. Snell Bouree Telemann p. 10, Belwin Mast Sol., Flu EZ Vol. 1, ed. Snell Petite Gavotte Handel Voxman Rubank Two Russian Songs (play both) Miaskovsky Rubank Spanish Folk Song Guenther Flute Solos, Level 2, Belwin Le Campanile Bozza “Four Easy Pieces,” Leduc Intermezzo Relmes Billaudot (Presser, Bryn Mawr, PA) Poem Petite Lewellen Belwin March (p. 28) Handel Mel Bay’s Classical Rep for Flute Vol. 1 Suzuki, Book 1, #15, Minuet in G (Allegretto) Bach (play repeats) Category Two Age 11 with more than 2 years of study. -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
Revisiting the Origins of the Italian Madrigal Using Machine Learning
Revisiting the Origins of the Italian Madrigal (with machine learning) Julie E. Cumming Cory McKay Medieval and Renaissance Music Conference Maynooth, Ireland, July 6, 2018 1 The origins of the madrigal Current consensus • The madrigal emerges as a new genre of Italian-texted vocal music in the 1520s • The Italian-texted works by Verdelot are madrigals • It originated in Florence (and Rome?) in the 1520s But where did it come from? • The frottola (Einstein 1949) • The chanson and motet (Fenlon and Haar 1988) • Florentine song: carnival song, and improvised solo song (A. Cummings 2004) 2 Finding the origins: what happened before Verdelot? • Verdelot arrived in Florence in 1521 • Earliest sources of the madrigal New focus: Florence, 1515-1522 Music Printsbefore Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Naming of Genres: Canzona in 1520s; Madrigale 1530 Prints (in or near Rome) • Pisano, Musica sopra le Canzone del petrarcha (partbooks, Petrucci, Fossombrone, 1520) (all Madrigals) • Motetti e Canzone I (partbooks, Rome, 1520) • Libro primo de la croce, choirbook, c. 1522 (surviving copy, later ed., Rome, Pasoti & Dorico, 1526) • Mix of frottole, villotte, and madrigals 4 Music MSS before Verdelot Thanks to I. Fenlon, J. Haar, and A. Cummings Florentine Manuscripts (all from Florence) • Florence, Basevi 2440, choirbook, c. 1515-22; 2 sections: • music with multiple stanzas of text (frottole) • through-composed works (madrigals & villotte) • Florence, BNC 164-167, partbooks, c. 1520-22 (4 sections) • Florence 164 or F 164 henceforth 5 My hypothesis The madrigal was deliberately created as a • high-style genre of secular music • that emulates the style of the motet Why? • Musical sources • Texts • Musical style • Cultural context (not today) 6 What do sources tell us? Madrigals are the first secular genre to be treated like Latin-texted motets in prints and manuscripts Copied and printed in partbooks (previously used only for Masses and motets) • Motetti e Canzone I (Rome, 1520), partbooks • Florence 164 (c. -
Hyper-Hurdy-Gurdy
Kurs: DA1005 Självständigt arbete, komposition, 30 hp 2015 Konstnärlig masterexamen i musik, 120 hp Institutionen för komposition, dirigering och musikteori Handledare: Anna Einarsson Luca Turchet Hyper-Hurdy-Gurdy Skriftlig reflektion inom självständigt, konstnärligt arbete Det självständiga, konstnärliga arbetet finns dokumenterat på DVD: “The_integrated_consciousness” och pdf: “The_integrated_consciousness.pdf” i Acknowledgments With this thesis I’d like to use the occasion to give my well owed thanks to all people who contributed to my education during these two wonderful years at the KMH Royal College of Music of Stockholm. First of all, I would like to take the opportunity to offer deep thanks to my supervisor Prof. Bill Brunson whose wonderful lessons I will never forget, for the kind support, the probing questions, and the helpfulness shown in many occasions. Secondly, I express my gratitude to professors Lars Ekström, Christofer Elgh, and Karin Rehnqvist who, in their composition lessons, were able to instill in me a love for the subjects they taught me. I am also grateful to all the staff of KMH which I interacted with, in particular the professors of the Departments of Composition, Conducting and Music Theory as well as of Folk Music. I also want to express my gratitude to Saverio Santoni whose advises about orchestration I have treasured a lot, as well as to Anna Einarsson for the precious comments about this thesis. I wish to thank the musicians of the KammarensembleN and the director Niklas Tamm who have been the first to perform in concert my composition “The Integrated Consciousness”. Last but not least, I would like to thank all the students I met at the KMH Royal College of Music of Stockholm, a list that would be much too long to include here, for providing a stimulating and fun environment in which to learn and grow. -
The Role of the Knight in the Old French Fabliaux
This dissertation has been microfilmed exactly as received 70-6800 HONEYCUTT, Benjamin Lawrence, 1938- THE ROLE OF THE KNIGHT IN THE OLD FRENCH FABLIAUX. [Portions of Text in Middle and M o d e m French]. The Ohio State University, Ph.D., 1969 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan THE ROLE OF THE KNIGHT IN THE OLD FRENCH FABLIAUX DISSERTATION Pro son ted in Partial Fulfillment of the Requirements for the Degree Dootor of Philosophy in the Graduate School of The Ohio State University By Benjamin Lawrence Honeycutt, B.A., M.A. The Ohio State University 1969 Approved by Department of Romance Languages TABLE OF CONTENTS Page ACKNOWLEDGMENTS............................. il VITA ........ iii Chapter I INTRODUCTION...................... 1 The Fabliaux The Knight in the Fabliaux II THE TYPE OF KNIGHT TREATED IN THE FABLIAUX .................. 19 III THE KNIGHT'S RELATIONSHIP TO OTHER CHARACTERS IN THE FABLIAUX ...... 55 IV THE DAILY LIFE OF THE KNIGHT IN THE FABLIAUX ................. 120 V THE KNIGHT AND HIS WORLD AS INSTRUMENTS OF HUMOR IN THE FABLIAUX ............. l*f? CONCLUSION ........................ ..... 177 APPENDIX A ....................................... 181 188 202 SELECTED BIBLIOGRAPHY ....................... 212 ACKNOWLEDGMENTS I wish to express my sincere appreciation to my adviser» Professor Eleanor W. Bulatkin, who encouraged me to undertake this project and whose counsel and direction have been invaluable on numerous occasions* A special word of thanks is due the Computer Center of the Ohio State University and Mr* James Wagoner in particular for their technical assistance in producing the concordance of the fabliaux whioh proved so helpful in the writing of this dissertation* ii VITA August 30,1938 ..... -
Vocal Music 1650-1750
Chapter 9 Vocal Music 1650-1750 Sunday, October 21, 12 Opera • beyond Italy, opera was slow to develop • France, Spain, and England enjoyed their own forms of dramatic entertainment with music Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Jean-Baptiste Lully (1632-1687), established sung drama that was part opera and part ballet • wrote a series of comédie-ballet for dancing talents of his master, Loius XIV • mixed spoken drama and dance Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • in 1672, Lully created new operatic genre: tragédie en musique (also know as tragédie lyrique) • drew on classical mythology and chivalric romances with plots being veiled favorable commentaries on recent court events Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Tragédie en musique consisted of: • an overture • an allegorical prologue • five acts of entirely sung drama, each divided into several scenes • many divertissements (interludes) Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Lully Armide - tragédie en musique (also called tragédie lyrique) - French Overture (section with slow dotted rhythms followed by faster imitative section) - the aria uses figured bass and moves freely between meters to accommodate the French language Sunday, October 21, 12 Opera Italy: Opera seria • Opera seria (serious opera) • usually tragic content • the most important type of opera cultivated from 1670-1770 • developed in Italy and sung almost exclusively -
Setu Kannel (Zither) Roland Suits Estonian National Museum Citole
Reconstructing and making replicas of musical instruments from the conservator ´s/ instrument maker’s viewpoint Roland Suits Estonian National Museum Beginning from the second half of the 20th century people all soundbox, neck, fingerboard, bridge and nut have been made over the world started to take an interest in playing traditional from maple, the cover is sprucewood and the tuning pins are and folk music on the so-called authentic instruments. This made from pear-tree. created the necessity for making duplicates or reconstructions of instruments. Therefore it is only natural that people turn also Moldpill (Psalmodicone) to museums where this kind of instruments can be found. Moldpill, which is of Swedish origin and spread in Western Unfortunately, very few musical instruments have been pre- and Northern Estonia in the 19th century, has usually only one served in the world dating from the Middle Ages and earlier string (monochord) and is played with a bow. The instrument Renaissance period in Europe; yet, abundant iconographic ma- was used at learning and accompanying songs at schools and terial can be found about them – paintings, sculptures, mini- prayer houses and it was also used for the same purpose at atures, stained glass, and so on. Written records are also avail- home. At the beginning of the 19th century the moldpill was able. Photo No. 2 Photo No. 3 adjusted from the ancient monochord for schools. As concerns folk instruments, in Estonia they started to be col- to a violin and was given to Queen Elizabeth I as a present by lected at about the beginning of the 20th century, yet, many of Earl Leicester. -
Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Toward a Pan-European Style I. Introduction A. European Musical
Ch. 4: Island and Mainland: Toward a Pan-European Style I. Introduction A. European musical style of the fifteenth and sixteenth centuries moved from distinct national styles (particularly of the Ars nova and Trecento) toward a more unified, international style. II. English Music and Its Influence A. Fragmentary Remains 1. English music had a style that was distinct from continental music of the Middle Ages. 2. English singers included the third among the consonant intervals. 3. The Thomas gemma Cantuariae/Thomas caesus in Doveria (Ex. 4-3) includes many features associated with English music, such as almost equal ranges in the top two parts and frequent voice exchanges. B. Kings and the Fortunes of War 1. The Old Hall Manuscript contains the earliest English polyphonic church music that can be read today. 2. Copied for a member of the royal family, most of its contents belong to the Mass Ordinary. 3. Henry V, who is associated with the Old Hall Manuscript, holds a prominent place in history of this period. 4. When Henry’s army occupied part of northern France in the early fifteenth century, his brother John of Lancaster, Duke of Bedford, was in charge. This brother included the composer John Dunstable (ca. 1390–1453) among those who received part of his estates when he died. 5. Dunstable’s music influenced continental composers. C. Dunstable and the “Contenance Angloise” 1. Dunstable’s arrival in Paris caused the major composers to follow his style, known as la contenance angloise. a. Major-mode tonality b. Triadic harmony c. Smooth handling of dissonance 2. -
Adam DE LA HALLE Le Jeu De Robin Et De Marion
557337 bk Robin US 13/2/06 17:19 Page 12 1 Motet: Mout / Robins m’aime / PORTARE 1:03 Scene 3 Adam 2 Pilgrim’s Prologue after LI JUS DU PELERIN 2:46 ¢ Robin rounds up guests for the party. 1:54 ∞ Motet: Mout / Robins m’aime / PORTARE 1:02 DE LA HALLE LI GIEUS DE ROBIN ET DE MARION Scene 4 Scene 1 § The Knight returns to find his bird... 2:09 Marion is happily minding her own business... ¶ J’oi Robin flagoler (Marion) 0:21 Le Jeu de Robin et de Marion 3 Robins m’aime (Marion) 3:02 • ...beats up Robin and kidnaps Marion... 2:35 4 Je me repairoie (Knight) 0:39 ª Hé resveille toi Robin (Gautiers li Testus) 0:37 5 Hé Robin (Marion) 0:22 º ...but Robin is aroused to the point of valour. 1:03 TONUS PEREGRINUS 6 ...when along comes a Knight on the lookout... 4:33 ⁄ Rondeau III: Hareu 0:41 7 Vous perdés vo paine (Marion) 0:22 8 ...but Marion means no when she says so... 0:30 Scene 5 9 Bergeronnete sui (Marion) 0:22 ¤ Marion sees off the Knight, her friends roll up... 3:54 0 ...and the Knight leaves empty-handed. 0:12 ‹ Aveuc tele compaignie (tous) 1:01 ! Trairi deluriau (Marion + Knight) 2:07 › ...and it’s time for all kinds of party games. 10:21 @ Rondeau II: Li dous regars 1:04 # Rondeau XV: Tant con je vivrai 1:40 Scene 6 fi Robin rescues a sheep, declares his love... 4:54 Scene 2 fl J’ai encore un tel pasté (Robin) 0:29 Robin makes his way to Marion.. -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.