DOCSLIB.ORG

Neuerscheinungen Musik – Frühjahr / Sommer 2016 Mein Schönstes Hobby

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Neuerscheinungen Musik – Frühjahr / Sommer 2016 Mein Schönstes Hobby SCHOTT MUSIC Spielend lernen! Mit Instrumentalschulen von Schott Music Neuerscheinungen Musik – Frühjahr / Sommer 2016 mein schönstes Hobby Die beliebte Lehrbuchreihe Europäische Klavierschule Piano Kids Blockflöte lernen Mit Spiel und Spaß, dem Flötenzirkus und Flötenzauber Fröhliche Schulen Für Violine, Viola, Querfl öte, Klarinette, Saxophon und Trompete Celloschule Die neue, moderne Schule von Gabriel Koeppen Gitarrenschulen für jedes Alter Von Schulen für Kinder bis Rock- und Popschulen Diese und viele weitere Schulen aus unserem umfangreichen Lehrbuch-Programm fi nden Sie auf 9 790001 138529 > www.schott-music.com/instrumentalschulen ISMN 979-0-001-13852-9 KAT 128-99 2 KLAVIER Garantiert topaktuelle Hits! Für Klavier und Keyboard • 8 aktuelle Chart-Hits 2 HEFTE IN EINEM! Klavierarrangement & Melodieausgabe zum Herausnehmen • Leicht spielbar für Klavier und Keyboard TOP 1OO • Mit Songs von Namika, Jus- tin Bieber und Robin Schulz HIT COLLECTION 74 Mit der Top 100 Hit Collection gibt es DAS BESTE AUS DEN CHARTS Noten · Texte · Akkorde · Tipps immer die besten Noten der heißesten Chartstürmer! In dieser Ausgabe da- bei: Lieblingsmensch von Newcomerin Namika, Cros Unplugged-Hit Bye Bye, die groovige Pop-Nummer Can’t Feel My Face von The Weeknd sowie wei- tere Top-Titel. Die leichten bis mittel- Die neue Hit-Single von Superstar Justin Bieber – schweren Arrangements sind auf Kla- erhältlich bei Universal Music vier oder Keyboard abgestimmt. Das herausnehmbare Leadsheet hält die • Justin Bieber What Do You Mean? Hauptstimme für Gesang, Melodie- • Namika Lieblingsmensch instrument oder Gitarre bereit und ist • Robin Schulz Sugar so fl exibel einsetzbar. • Cro Bye Bye • Anna Naklab Supergirl • Joris Herz über Kopf Top 100 Hit Collection 74 • R. City feat. Adam Levine Locked Away Das Beste aus den Charts / Noten - • The Weeknd Can't Feel My Face Texte - Akkorde - Tipps für Klavier / Keyboard (Bye, Uwe) Schwierigkeit: 2-3 ISBN 978-3-7957-0917-4 MF 2074 • 13,99 € MF 2074 bereits erschienen Top 100 Hit Collection 73 Top 100 Hit Collection 72 8 Chart Hits: Love Me Like You 8 Chart Hits: Take Me To Do - Ain’t Nobody - Wie schön Church - Auf anderen Wegen du bist - Hold Back The River - Blank Space - Cool Kids - The - Headlights - Firestone - Hanging Tree - Superheroes - Heroes - Blame It On Me. Love Me Harder - Sun Goes Noten für Klavier und Down. Noten für Klavier und Keyboard. Keyboard. (Bye, Uwe) (Bye, Uwe) Schwierigkeit: 2-3 Schwierigkeit: 2-3 ISBN 978-3-7957-9054-7 ISBN 978-3-7957-9053-0 MF 2073 • 13,99 € MF 2072 • 13,99 € bereits erschienen bereits erschienen KLAVIER 3 Mein erster Beethoven Die leichtesten Klavierstücke des großen Meisters • Beliebtes, leichtes Klavier- repertoire • Für Elise, Mondscheinsonate Wilhelm Ohmen und viele weitere Titel Mein erster Beethoven • Für den Unterricht und das Die leichtesten Klavierwerke von Ludwig v. Beethoven Spiel zu Hause My First Beethoven Easiest Piano Pieces by Ludwig v. Beethoven Ludwig van Beethoven schrieb zahlrei- che Klavierstücke für den Unterricht seiner Schüler. Bis heute sind sie fester Bestandteil im Klavierunterricht. Mein erster Beethoven bietet Pianisten jeden Alters einen guten Einstieg in diese Werke. Der Band versammelt Beet- hovens beliebteste und leichteste Kla- vierstücke: von den gerne gespielten Sonatinen in G- und F-Dur bis zu Für Elise und der berühmten Mondschein- sonate. SCHOTT Easy Composer Series Beethoven, Ludwig van Mein erster Beethoven Die leichtesten Klavierwerke von L. van Beethoven (Ohmen, Wilhelm) Schwierigkeit: 2-3 ISBN 978-3-7957-0912-9 ED 22359 ED 22359 • 12,50 € Februar SCHOTT SCHOTT Easy Composer Series Easy Composer Series Schumann, Robert Mozart, Wolfgang Amadeus Mein erster Schumann Mein erster Mozart Die leichtesten Klavierwerke Die leichtesten Klavierwerke von R. Schumann von W.A. Mozart (Ohmen, Wilhelm) (Ohmen, Wilhelm) Schwierigkeit: 2-3 Schwierigkeit: 2-3 ISBN 978-3-7957-4451-9 ISBN 978-3-7957-4937-8 ED 22358 • 12,50 € ED 22062 • 12,50 € bereits erschienen bereits erschienen 4 KLAVIER Mein erstes Konzert The Piano Playlist 57 leichte Vortragsstücke 50 beliebte leichte Klassiker Klavier · Piano Monika Twelsiek Mein erstes Konzert My first Concert 57 leichte Vortragsstücke aus 5 Jahrhunderten 57 Easy Concert Pieces from 5 Centuries ED 20969 • Sorgfältig ausgewählte Stücke • Die 50 beliebtesten Stücke • Von Bach bis Bartók • In leichten Bearbeitungen • Von Barock bis Pop • Zum Musizieren daheim oder mit Freunden Das erste Konzert stellt für jeden Schüler und für jede Diese neue Sammlung präsentiert die 50 beliebtesten Schülerin ein ganz besonderes Erlebnis dar. Die Wahl des klassischen Stücke in leichten Bearbeitungen für Klavier. „richtigen“ Vortragsstückes kann dabei von entscheidender Basierend auf dem Konzept der „Playlist“ aus der Welt des Bedeutung sein: nicht zu lang oder zu kurz, technisch nicht digitalen Musikstreamings, präsentiert dieses Buch eine zu anspruchsvoll und dennoch gut klingend. Die Ausgabe sorgfältig ausgewählte Sammlung der weltweit beliebtesten versammelt die schönsten originalen Klavierstücke aus den Klassikstücke für Musikschüler und Hobbymusiker von Epochen Barock, Klassik, Romantik, der Moderne sowie heute. aus den Bereichen Rock, Pop oder Tango: darunter Werke Diese Ausgabe enthält viele der beliebtesten Werke aus bekannter Komponisten sowie kleinere Meisterwerke, die dem klassischen Repertoire und bietet Material für Stunden diesen jedoch in nichts nachstehen. vergnüglichen Musizierens. SCHOTT SCHOTT Mein erstes Konzert Carson Turner, Barrie 57 leichte Vortragsstücke aus 5 Jahrhunderten The Piano Playlist (Twelsiek, Monika) 50 Popular Classics in Easy Arrangements Ausgabe mit CD (engl.) ISBN 978-3-7957-4515-8 Schwierigkeit: 2 ED 20969 • 17,50 € ISMN 979-0-2201-3697-9 Februar ED 13860 • 12,50 € April KLAVIER 5 Beruhigende Klavier-Klassiker • Musik zum Entspannen • In großer stilistischer Vielfalt • Leicht bis mittelschwer Eine neue Reihe von Klaviermusikaus- gaben, herausgegeben von der briti- schen Konzertpianistin Samantha Ward und vornehmlich für das Musi- zieren zuhause, rein zum Vergnügen, gedacht. Die Musik wurde wegen ihrer beruhi- genden Eigenschaften ausgewählt; die meisten Stücke sind wohlbekannt, aber es sind auch einige weniger be- kannte entzückende Kleinode darun- ter. Diese Sammlungen enthalten Be- arbeitungen von Stücken aus Barock, Klassik und Romantik, Stücke von französischen impressionistischen Komponisten und traditionelle Stücke aus der ganzen Welt und sind von leichtem und mittlerem Schwierig- keitsgrad, so dass ein guter Hobby- pianist keine Schwierigkeiten bei der Erarbeitung dieser Stücke haben wird. SCHOTT Relax with Baroque Piano Relax with Classical Piano Relax with French (Ward, Samantha) ISMN 979-0-2201-3682-5 Impressionist Piano (engl.) ED 13850 • 12,50 € ISMN 979-0-2201-3685-6 Schwierigkeit: 2-3 ED 13853 • 12,50 € ISMN 979-0-2201-3681-8 ED 13849 • 12,50 € April Relax with Romantic Piano Relax with Folk Piano ISMN 979-0-2201-3683-2 ISMN 979-0-2201-3684-9 ED 13851 • 12,50 € ED 13852 • 12,50 € 6 KLAVIER Maintenant c’est à Noch mehr Blues Piano vous de jouer ! Band 2 des beliebten Lehrwerks erscheint in französischer Sprache • Übersichtlich und leicht verständlich • Von Blues zu Soul und Jazz • Ideal für Anfänger und Wiedereinsteiger • Harmonien verstehen • Mit unterstützender CD • Soli spielen und begleiten Die beliebte Klavierschule Klavierspielen – mein schönstes Tim Richards zeigt im lange erwarteten Band 2 seiner Me- Hobby gibt es jetzt auch in französischer Sprache! Erfolg thode alle wichtigen Aspekte der Harmonik, Melodik und stellt sich dann ein, wenn das Lernen Spaß macht! Hans- Rhythmik des Blues. Neben der Weiterentwicklung der be- Günter Heumann lässt diese Erfahrung aus seinen langjähri- reits gelernten Akkordvoicings und Solokonzepte stehen gen Lehrtätigkeiten in seine Unterrichtswerke einfl ießen. die Arrangements von Klassikern von Pine Top Smith, Leroy Sein Lehrwerk wendet sich an jugendliche und erwachsene Carr oder Ray Charles im Vordergrund. Diese runden das Anfänger oder Wiedereinsteiger und enthält eine anspre- Thema anschaulich ab, machen Lust zu spielen und sind chende Mischung bekannter Stücke aus den Bereichen für Pianisten der Mittelstufe geeignet. Klassik bis Pop. Die beiliegende CD ist eine praktische und Komplett in französischer Sprache. motivierende Lernhilfe. Band 1 und 2 (dt.): ED 9695 (mit CD), ED 9724 SCHOTT SCHOTT Heumann, Hans-Günter Modern Piano Styles À vous de jouer! PIANO Richards, Tim Méthode de piano moderne et facile, accessible à Blues Piano l‘apprentissage en autodidacte Les principes de base du piano blues, Vol. 1 expliqués de façon claire et accessible Ausgabe mit CD (frz.) Band 1 Schwierigkeit: 1-2 Lehrbuch mit CD (frz.) ISBN 978-3-7957-4988-0 ISBN 978-3-7957-4696-4 ED 22218 • 24,00 € ED 21512 • 26,50 € Februar bereits erschienen KLAVIER 7 Das Beste aus der West Side Story Zwei neue Play-Along Ausgaben • Die schönsten Hits des Musical-Klassikers • Ausgaben für Anfänger und Fort geschrittene • Play-Alongs per Online- Zugang Gleich zwei neue Ausgaben warten mit Bearbeitungen der schönsten Songs aus Bernsteins beliebtem Mu- sical auf. Dabei bietet die Ausgabe der Reihe Easy Play-Along einfache Arrangements für Anfänger. Fortge- schrittene Pianisten werden in der Reihe Piano Play-Along fündig, die neben dem Klavier zusätzlich die Gesangsstimme sowie Gitarrentabu- laturen enthält. Beide Ausgaben berechtigen per Online-Zugang zu einem Zugriff auf Audiodateien mit professionell ein- gespielten Tracks zur Inspiration oder Begleitung. BOOSEY
Load more

Recommended publications
  • The Puerto Papers
    The Puerto Papers Edited by David Forrest Commission on Music in Cultural, Educational & Mass Media Policies in Music Education 1 2 The Puerto Papers 3 4 The Puerto Papers Edited by David Forrest Commission on Music in Cultural, Educational & Mass Media Policies in Music Education 5 Published by International Society for Music Education (ISME) PO Box 909 NEDLANDS 6909 Western Australia ! Commission on Music in Cultural, Educational and Mass Media Policies ISME 2004 First published 2004 All rights reserved. This publication is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act 1968, no part of this publication may be reproduced, by any process, without the written permission of the Editors. Nor may any part of this publication be stored in a retrieval system, or transmitted by any means electronic, mechanical, photocopying or otherwise. The publication has been prepared for the members of the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education. The opinions expressed in the publication are those of the authors and do not necessarily reflect the views of the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education or the Editors. While reasonable checks have been made to ensure the accuracy of statements and advice, no responsibility can be accepted for errors and omissions, however caused. No responsibility for any loss occasioned to any person acting on or refraining from action as a result of material in this publication is accepted by the authors, the Commission on Music in Cultural, Educational and Mass Media Policies of the International Society for Music Education or the Editors.
    [Show full text]
  • O Repertório Dos Sécs. Xx E Xxi Para O Duo Viola E Violoncelo: Um Catálogo De Obras E a Construção Da Sonoridade Do Duo Na Interpretação
    UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA LARISSA NATÁLIA FERREIRA DE MATTOS O REPERTÓRIO DOS SÉCs. XX E XXI PARA O DUO VIOLA E VIOLONCELO: UM CATÁLOGO DE OBRAS E A CONSTRUÇÃO DA SONORIDADE DO DUO NA INTERPRETAÇÃO BELO HORIZONTE 2016 LARISSA NATÁLIA FERREIRA DE MATTOS O REPERTÓRIO DOS SÉCs. XX E XXI PARA O DUO VIOLA E VIOLONCELO: UM CATÁLOGO DE OBRAS E A CONSTRUÇÃO DA SONORIDADE DO DUO NA INTERPRETAÇÃO Trabalho apresentado ao Programa de Pós- Graduação em música da Escola de Música da Universidade Federal de Minas Gerais como requisito parcial para a obtenção do título de Mestre em Música. Linha de Pesquisa: Performance Musical Orientador: Prof. Dr. Carlos Aleixo dos Reis BELO HORIZONTE 2016 M435r Mattos, Larissa Natália Ferreira de O repertório dos sécs. xx e xxi para o duo viola e violoncelo: um catálogo de obras e a construção da sonoridade do duo na interpretação. / Larissa Natália Ferreira de Mattos. --2016. 188 f., enc.; il. + 1 DVD Orientador: Carlos Aleixo dos Reis. Área de concentração: Performance musical. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Música. Inclui bibliografia. 1. Viola e violoncelo 2. Catálogos Música. I. Reis, Carlos Aleixo dos. II. Universidade Federal de Minas Gerais. Escola de Música. III. Título. CDD: 780.16 À violista Cindy Folly, minha companheira e fonte de inspiração AGRADECIMENTOS À minha amada e admirada companheira de vida e profissional Cindy Folly, por todo apoio, confiança, incentivo, carinho, paciência, amizade, dedicação e pelo grande exemplo humano de integridade de caráter e profissionalismo que me inspiram a cada dia.
    [Show full text]
  • Chapter 1: Place §1 Chinese Popular Music
    The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 1: Place §1 Chinese Popular Music After introducing the singer and describing his migration from Malaysia to Singa- pore and his recent popularity in Hong Kong, Taiwan, and all over the Chinese di- aspora, the anchor [of the 1995 May 1st Concert] asked Wu [Qixian] how he de- fined himself in the final analysis. The musician’s reply, “I am Chinese” (wo shi Zhongguoren), which stirred a most enthusiastic and warm response from the au- dience, encapsulated everything Wu’s participation stood for, at least from the point of view from the state… By inviting … gangtai singers to participate in concerts and television programs, the Chinese state is not engaged so much in competing with other Chinese politics and identities … but rather in contesting their independence and in co-opting them into a greater Chinese nationalism, of which China is the core. In other words, the Chinese state is engaged in appropri- ating the concept of Greater China (Da Zhonghua).1 Gangtai is a 1980s PRC term for highly successful cultural products from Hong Kong (xiang gang) and Taiwan. In the above quotation, Nimrod Baranovitch rightly recognizes Hong Kong and Taiwan as major areas of production of Chinese pop music.
    [Show full text]
  • Fall 2019 Rizzoli Fall 2019
    I SBN 978-0-8478-6740-0 9 780847 867400 FALL 2019 RIZZOLI FALL 2019 Smith Street Books FA19 cover INSIDE LEFT_FULL SIZE_REV Yeezy.qxp_Layout 1 2/27/19 3:25 PM Page 1 TABLE OF CONTENTS RIZZOLI Marie-Hélène de Taillac . .48 5D . .65 100 Dream Cars . .31 Minä Perhonen . .61 Achille Salvagni . .55 Missoni . .49 Adrian: Hollywood Designer . .37 Morphosis . .52 Aēsop . .39 Musings on Fashion & Style . .35 Alexander Ponomarev . .68 The New Elegance . .47 America’s Great Mountain Trails . .24 No Place Like Home . .21 Arakawa: Diagrams for the Imagination . .58 Nyoman Masriadi . .69 The Art of the Host . .17 On Style . .7 Ashley Longshore . .43 Parfums Schiaparelli . .36 Asian Bohemian Chic . .66 Pecans . .40 Bejeweled . .50 Persona . .22 The Bisazza Foundation . .64 Phoenix . .42 A Book Lover’s Guide to New York . .101 Pierre Yovanovitch . .53 Bricks and Brownstone . .20 Portraits of a Master’s Heart For a Silent Dreamland . .69 Broken Nature . .88 Renewing Tradition . .46 Bvlgari . .70 Richard Diebenkorn . .14 California Romantica . .20 Rick Owens Fashion . .8 Climbing Rock . .30 Rooms with a History . .16 Craig McDean: Manual . .18 Sailing America . .25 David Yarrow Photography . .5 Shio Kusaka . .59 Def Jam . .101 Skrebneski Documented . .36 The Dior Sessions . .50 Southern Hospitality at Home . .28 DJ Khaled . .9 The Style of Movement . .23 Eataly: All About Dolci . .40 Team Penske . .60 Eden Revisited . .56 Together Forever . .32 Elemental: The Interior Designs of Fiona Barratt Campbell .26 Travel with Me Forever . .38 English Gardens . .13 Ultimate Cars . .71 English House Style from the Archives of Country Life .
    [Show full text]
  • Fusion Process in the Instrumental Works by Chen Yi Xin Guo
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Chinese Musical Language Interpreted by Western Idioms: Fusion Process in the Instrumental Works by Chen Yi Xin Guo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CHINESE MUSICAL LANGUAGE INTERPRETED BY WESTERN IDIOMS: FUSION PROCESS IN THE INSTRUMENTAL WORKS BY CHEN YI By XIN GUO A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 The members of the Committee approve the dissertation of Xin Guo defended on November 6, 2002. James Mathes Professor Directing Dissertation Andrew Killick Outside Committee Member Jane Piper Clendinning Committee Member Peter Spencer Committee Member Approved: Seth Beckman, Assistant Dean for Academic Affairs and Director of Graduate Studies, School of Music ACKNOWLEDGMENTS I would like to express my deepest gratitude to many people who have helped me in one way or another during my research and writing of this dissertation. Dr. Chen Yi’s music inspired me to choose the topic of this project; she provided all the scores, the recordings, and her reference materials for me and responded to my questions in a timely manner during my research. Dr. Richard Bass guided me throughout my master’s thesis, an early stage of this project. His keen insight and rigorous thought influenced my thinking tremendously. Dr. Harris Fairbanks spent countless hours proofreading both my thesis and dissertation. His encouragement and unwavering support helped me enormously and for this I am deeply indebted to him.
    [Show full text]
  • Ch2, Morcom, Unity and Discord, 2004
    31 Chapter Two Cultural policy, modernization and change in Tibetan music from 1951 until the 1980s Guided by the principle in literature and art of “letting a hundred flowers blossom and weeding the old to bring forth the new”, writers and artists have studied and rearranged the traditional features of Tibetan opera. They have improved costumes, stage props, settings and make-up by assimilating elements of the classical operas of the Han culture. – Tales from Tibetan opera: 12-13, by Chinese scholar Wang Yao, 1986. The first period of ‘liberation’: 1951-1965 Policy towards the arts in Tibet was initially based closely on Mao’s statements at the Talks at the Yan’an Conference on Literature and Art in Yan’an in 1942, and from the early 1950s, changes were implemented that aimed at ‘reforming’ certain traditions of Tibetan performing arts and ‘developing’ them according to the paternalistic and ethnocentric notions described in the previous chapter. This resulted in increasing Chinese influence on certain Tibetan genres during this period. Government initiatives were also aimed at preserving traditions of Tibetan music, but these were either more ‘development’ based, implementing change rather than preserving, or focused on the documentation of song texts, which had no significant effect on living musical traditions. New genres were also introduced to Tibet during this period: revolutionary ‘folksongs’ and spoken drama (as opposed to traditional sung drama or Tibetan opera, Ache Lhamo). The revolutionary ‘folksongs’ were purely propaganda, and the spoken drama also followed the Party line closely. Overall, the policies of the period prior to the Cultural Revolution only affected small pockets of Tibetan musical culture in cities and left the countryside, where the vast majority of Tibetans lived, virtually untouched.
    [Show full text]
  • The Making of Woodwind Art in China
    Volume 9 - Issue 27 / March 2020 301 DOI: http://dx.doi.org/10.34069/AI/2020.27.03.33 The Making of Woodwind Art in China Становление искусства игры на деревянно-духовых инструментах в Китае Received: December 28, 2019 Accepted: February 15, 2020 Written by: Liu Yang102 ORCID: 0000-0003-1063-2637 Svetlana Anatolievna Mozgot103 Spin-code: 530-244 ORCID: 0000-0002-5342-6940 Abstract Аннотация The phenomenon of the formation of the Феномен становления искусства игры на woodwind instrument art in China of the 20th деревянно-духовых инструментах в Китае ХХ century is due to the unique synthesis of Western века обусловлен уникальным синтезом European traditions and the experience of западноевропейских традиций и опытом игры playing traditional national wind instruments. на традиционных национальных духовых The relevance of the study is due to the fact that инструментах. Актуальность исследования the growth of professionalism among musicians- связана с тем, что рост профессионализма performers stimulates composer creativity, среди музыкантов-исполнителей стимулирует producing the development by Chinese композиторское творчество, продуцируя composers of the styles and genres of Western освоение китайскими композиторами стилей и European music. In turn, the combination of жанров западноевропейской музыки. В свою styles and genres of academic art with intonation очередь, сочетание стилей и жанров and expressive means of national Chinese music академического искусства с интонацией и creates new, interesting examples of musical средствами выразительности национальной compositions by contemporary Chinese китайской музыки создаёт новые, интересные composers, worthy of a separate in-depth study. образцы музыкальных сочинений The purpose of the article is to consider the современных композиторов Китая, достойные prerequisites, features of the formation of the отдельного глубокого изучения.
    [Show full text]
  • China Today a Festival of Chinese Composition 当代中国 一场中国作曲创作的盛典 the Juilliard School Presents
    Focus! Festival China Today A Festival of Chinese Composition 当代中国 一场中国作曲创作的盛典 The Juilliard School presents The 34th annual Focus! festival Focus! 2018 China Today: A Festival of Chinese Composition Joel Sachs, Director TABLE OF CONTENTS 1 Introduction to Focus! 2018 5 Program I Friday, January 19, 7:30pm 12 Program II Monday, January 22, 7:30pm 19 Program III Tuesday, January 23 Preconcert Forum, 6:30pm; Concert, 7:30pm 26 Program IV Wednesday, January 24, 7:30pm 33 Program V Thursday, January 25, 7:30pm 39 Program VI Friday, January 26, 7:30pm 48 Focus! Staff This performance is supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Introduction to Focus! 2018 By Joel Sachs Almost a year ago, Juilliard president Joseph W. Polisi and I convened to consider the theme of the coming Focus! festival, a concept we jointly created in his first semester as president in 1984. This time, however, contemplating his final festival as Juilliard’s president, Dr. Polisi had a specific request—a focus on China, linked to the milestone project with which his tenure is culminating: the establishment of Juilliard’s campus in Tianjin. While China had been in my mind as a Focus! topic for years it always got pushed aside, largely by the thought of what would be involved in trying to survey the composers of such a huge, diverse, and culturally rich nation.
    [Show full text]
  • Chinesische Kunstmusik Der 1980Er Jahre
    Chinesische Kunstmusik der 1980er Jahre Aushandlung, Transformation und Transzendenz von „Eigenem und Fremdem“ Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Hannes Jedeck aus Hamburg Bonn 2020 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich- Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Martin Aust (Prüfungsvorsitzender) Prof. Dr. Tobias Janz (Betreuer und Gutachter) Prof. Dr. Michael Friedrich (Gutachter) Prof. Dr. Christine Siegert (weiteres prüfungsberechtigts Mitglied) Tag der mündlichen Prüfung: 26.06.2019 Vorwort und Danksagung Wenn Doktoranden die Zeit ihrer Dissertation mit einer weiten Reise vergleichen, kommt es einem bisweilen wie eine leere Floskel vor. Doch gerade im Nachhinein erscheint mir der Vergleich als überaus passend: Einem ausgiebigen Pläneschmieden und vielen Gedanken folgten die ersten Schritte, die ersten Sätze auf dem weißen Papier, nicht ahnend, was alles noch kommen würde, welche Schwierigkeiten und welche Freuden warten würden. Zeitweise schien das Ziel der fertigen Dissertation im Nebel unendlicher Ferne zu verschwinden, dann – oft ohne erkennbare Veränderung – wieder in greifbare Nähe zu rücken. Beides erwies sich letztendlich als trügerisch und so war wohl jeder geplante Schritt ein wichtiger in Richtung der erfolgreichen Promotion. Zur Metapher passt auch, dass die Zeit, in der ich an der Dissertation gearbeitet habe, von ganz realen Reisetätigkeiten geprägt war. Hierzu zählen die zwei Besuche des erst kürzlich größtenteils an die Universität Heidelberg übertragenen CHIME-Archivs in Leiden, bei denen ich die Freude hatte, Frank Kouwenhoven kennen zu lernen, der mir Zugang zu seiner über Jahrzehnte aufgebauten Sammlung asiatischer Musik und damit zu einem großen Teil des in der Dissertation verwendeten Quellenmaterials verschafft hat.
    [Show full text]
  • Tibetan Buddhist Kama Sutra and Tantric Sex
    Volume 4, Issue 4, May 2006 THE TIBET ISSUE Trekking in and Around Lhasa From Lhasa to Everest Base Camp The Tibetan Kama Sutra & Tantric Sex Positions The Tibetan Book of the Dead Tibetan Film & Music Reviews May Getting Out There – Your Guide to Business Traveling, Living & Culture Across China From Harbin to Hainan, from Wuxi to Urumqi and all cities inbetween Complimentary Subscription at www.chinaexpat.com if you wish to receive this magazine - free of charge via email every month - please complete subscription details on our homepage Hi, I’m Lucy Lu and welcome to the May issue of ChinaExpat.com – and in this issue we feature Lhasa and some Tibetan trekking and culture ! For the adventurous there is a piece on getting to the Everest base camp, and for the Buddhists amongst you a review of the classic “Book of the Dead” – plus a couple of films and music reviews. We also feature an extensive piece on Lhasa itself as it’s pretty much the starting point for many Tibetan adventures and there is a lot to see there. We also follow up on the rock singer Stings much publicized Tantric sex practices and bring you a piece on Tibetan Tantric sex positions, descriptions, and the history of the Buddhist Kama Sutra. Enjoy this issue and see you next month ! Best wishes Lucy SUBSCRIBE TO CHINA EXPAT !!! CHINA EXPAT LOCAL PARTNER SITES & FREE MAGAZINE EACH MONTH, CHINA BLOGS WANTED !!! OVER 50 CITY GUIDES ONLINE AND FULL ACCESS TO ALL BACK ISSUES If you have a China website or blog with details of what to go, where to stay and what’s happening in your city or province, then we’d love to hear from you ! We can provide free links to your site on our relevant city guide section and help promote your website both online at chinaexpat.com and also in this magazine – for free ! With over 500,000 web views a month we can help drive traffic to your domain – our readers want information about China on a national basis and we are happy to promote your site from ours.
    [Show full text]
  • Music Analysis Through Visualization
    MUSIC ANALYSIS THROUGH VISUALIZATION Jia Li [email protected] CCRMA, Stanford University Shanghai Conservatory of Music ABSTRACT In this paper analytic visualizations are used to selectively highlight salient musical features in four modern compositions, focusing on micro or macro Early in the twentieth century, graphic techniques were structures: from motivic pitch contour to large-scale form. used to illustrate analytic aspects of musical scores. It can At a glance these visualizations allow a quick grasp of the be dated back at least to Alfred O. Lorenz (1924), who structure and assist listeners to make connections between used graphs to show the modulatory scheme for Wagner's local features and global trends. Textures obscured by Ring Cycle [3]. He developed a method of exploring musical notation become more apparent when displayed Wagner’s musical texture as large, closed totalities. With in a graphical format, such as broad registral shifts, the increasing popularity of computers in the 1970s, polyphonic streaming, as well as interplay between music visualization becomes more accessible; either from instruments. Pitch, timbre and voicing are plotted against pitch and rhythm extracted from traditional scores or time to show large-scale patterns that would otherwise be sound-based visualizations such as waveforms and difficult to recognize in a musical score or compare sonograms. between different works. Music analysis through While sound-based visualizations are useful for compositional data visualization not only makes sense to displaying performance information, this paper examines musicians but also to non-musicians, facilitating compositional structures that are best visualized from collaboration and exchange with artists and technicians in data.
    [Show full text]
  • Musicathlon English:Layout 1
    Shanghai Conservatory SHANGHAI, CHINA Wednesday, July 9 7:30 p.m. Central Conservatory Concert Hall Spuanava, for String Quartet Zhao Guang Intermission 1st movement 2nd movement Shanghai New Ensemble Theme and Variation Henryk Wieniawski He Xian, violin (1835-1880) Yuan Jiamin, violin Wang Zhijiong, violin Wei Zhen, viola Yin Yue, piano Chen Weiping, cello Dialogue I, for Cello and Zheng Qi Yao Polonaise from Onegin Tchaikovsky–Liszt Shanghai New Ensemble Ricordanza Franz Liszt Qi Yao, zheng Valse Oubliée No.1 Liszt Chen Weiping, cello Rakóczy March Liszt–Horowitz Yu (Jade), for Pipa and String Quartet Zhu Jian-er Wang Jue, piano Shanghai New Ensemble Qin Yi, pipa I Love you, China Music: Zheng Qiufeng He Xian, violin Lyrics: Qu Cong Yuan Jiamin, violin “Vissi d’arte, vissi Giacomo Puccini Wei Zhen, viola d’amore” from Tosca (1858-1924) Chen Weiping, cello “The Jewel Song” Charles Gounod from Faust (1818-1893) Li Xiuying, soprano Wei Fugen, piano Shanghai Conservatory Yang Liqing, President The Shanghai Conservatory of Music is a music institute Shanghai Conservatory of famous both at home and abroad. It grew out of the Music, New Ensemble, Shanghai National Conservatory of Music, which was String Quartet, Percussion established in a common effort by Mr. Cai Yuanpei and Ensemble, National Music Dr. Xiao Youmei (Shio Yiu-mei) on November 27, 1927. Orchestra and Choir. Our teachers and students have won numerous awards Shanghai Conservatory of both home and abroad, thus earning the conservatory the Music maintains close name, “the cradle of musicians.” relationships with many The oldest institute of music higher education in China, first-class conservatories the Shanghai Conservatory of Music consists of thirteen and famous musicians, departments.
    [Show full text]