DOCSLIB.ORG

Master of Arts at Tee Sacramento State College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Master of Arts at Tee Sacramento State College THE PLANNING, PREPARATION, AND PRESENTATION OF A FLUTE RECITAL Marsaretta Baker Redwine A. B. \University ot Calltornla), 19~9 PROJECT Submitted in partial satisfaction ot the requirements tor the degree ot MASTER OF ARTS AT TEE SACRAMENTO STATE COLLEGE Approved: Frederick W. Westphal, Chair James Adair Paschal Monk _________________________ SACRAMENTO STATE CO LLEGE ARCHIVES TABLE OF CONTENTS CHAPTER PAGE I. THE PROJEC'l' • • • • • • • • • • • • • • • • • • • 1 Statement of the project • • • • • • • • • • • 1 Importance ot the project •• • • • • • • • • • 2 Sources ot data • • • • • • • • • • • • • • • • 4 Organization or remainder of the paper • • • • 4 II. PREPARATION AND PROCEDURES ••••••••• • • 5 Background knowledge and basic skills • • • • • 5 Background knowledge • • • • • • • • • • • • 5 Basic technical knowledge • • • • • • • • • • 6 Basic skills • • • • • • • • • • • • • • • • 6 Planning and organization • . ' . • • • • • • • 7 Preliminary research • • • • • • • • • • • • 7 Criteria for selection of music • • • • • • • 8 Evaluation and selection of compositions ... 9 Time limit • • • • • • • • • • • • • • • • • 10 Adjustment of selections • • • • • • • • • • 10 Research on composers and compositions • • • 10 Planning the recital date and place • • • • • 11 Requesting the assistance ot other performers 11 Programming • • • • • • • • • • • • • • • • • 11 Procedures in preparing the .music • • • • • • • 11 Practice • • • • • • • • • • • • • • • • • • 11 Rehearsal with other performers • • • • • • • 12 iii CHAPTER PAGE Dress rehearsal • • • • • • • • • • • • • • • 13 Technical arrangements for presentation • • • • 13 Publicity • • • • • • • • • • • • • • • • • • 13 Programs • • • • • • • • • • • • • • • • • • 13 Ushers • • • • • • • • • • • • • • • • • • • 13 Tape recording • • • • • • • • • • • • • • • 13 Setting the stage • • • • • • • • • • • • • • 14 III. REPORT OF BACKGROUND RESEARCH ON COMPOSERS • • • 15 Georg Philipp Telemann • • • • • • • • • • • • 15 Domenico Cimarosa • • • • • • • • • • • • • • • 20 Gabriel Urbain Faure • • • • • • • • • • • • • 22 Kent Wheeler Kennan • • • • • • • • • • • • • • 26 IV. ANALYSIS OF WORKS PERFORMED • • • • • • • • • • • 28 Suite in A Minor, by Georg Philipp Telemann •• 28 Concerto in ~ · Major, by Domenico Cimarosa • • • 31 Fantasie, by Gabriel Faure •••••••• • • 34 Nig,ht Soliloquy, by Kent Kennan • • • • • • • • 35 V. ·SUMMARY AND CONCLUSIONS ••••••••••••• 37 Summary • • • • • • • • • • • • • • • • • • • • 37 Conclusions • • • • • • • • • • • • • • • • • • 37 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • 39 APPENDIX .A ·. SUrvey of Solo Flute Literature •• • • • 42 APPENDIX B. Check List · •••••••••••• • • • 50 APPENDIX c. The Program • • • • • • • • • • • • • • • 52 CHA.PrER I THE PROJECT The process of education and growth in the under­ standing ot music can be furthered in many ways. The basis tor its development is a study of the many aspects of the field of musical kn.owledge--trom the history and evolution of musical form, notation, and theory to the techniques involved in the composition and performance of music. But the process cannot stop there, if thorough musical under­ standing is to be realized. In order to strengthen the process ot musical growth, it is necessary to apply the knowledge and the techniques I which have been acquired through study. In musio this application oan follow various paths. It can be accom­ plished through actual composition of music, .through con­ ducting, or, as in the current project, through performance. By the practical application of musical knowledge and skills, broader understanding ot the subject and growing insight in the field can be acquired. It was with this aim in mind that the project, ~ recital in the performance of flute music, was undertaken. Statement .2! the project. The purpose of the project was to plan, prepare, and present a public recital consisting 2 of the performance of selected chamber musie compositions for the flute. More specifically, the development of the project included an attempt to answer the following ques­ tions: (1) What background .knowledge and what basic skills should be acquired before attempting the public performance of instrumental chamber music? (2) What steps should be taken in planning such a public music recital? (3) What procedures should be followed in preparing the music for performance? (4J What technical arrangements need to be made regarding the actual presentation of the program? Importance .2! !l!!, project. A music recital can be a demonstration and a synthesis of all the complex musical knowledge and understanding which has been previously gained. Musical performance can exhibit not only a compre­ hension of the specific compositions performed but also a perception of the meaning of music in general. In order to demonstrate such a level ot development, it was felt that chamber music, providing a major role tor the flute, should be performed.l The medium of chamber music was chosen because, of all musical forms, chamber music probably demands 1 The term chamber music, as used here in its broad ' sense, can be applied to music requiring the coordinated eftorts ot two or more players in performing music adapted to small audience situations. the most of the performer. Homer Ulrich states, • • • chamber music provides a medium tor the ex­ pression of particularly intimate musical ideas • • • • In chamber music there is room only tor essentials; all mere padding is avoided. One is aware of the musical essence, of the composer's inm.os~ intentions, and is not distracted by extraneous .glamor. The performance of chamber music can be one of the strongest possible challenges to technique and· interpretation in re­ quiring a constant awaren.ess Qf the ensemble ettort. Thus, it can serve to demonstrate an understanding of these aspects of musical knowledge. The performance of music can also contribute to further understanding and comprehension of the subject. The actual application of the knowledge and the skills previously gained oan be a contribution to further growth in the art. The sharing of a musical experience can bring not only pleasure and enjoyment, but also a broader insight int·o the subject tor both listener and performer. Since the writer had never before presented a music recital, it was felt that the experience in developing such a project would have great value in furthering musical growth and in contributing to the total musical education. A music recital can, then, (l) demonstrate an under- 2 Homer Ulrich, Chamber Music, The Growth and Praotioe 2!, an Intimate ~ - (New York: . Columbia~ivers!ty'!Sre~s, 1948}, pp.I;-$. .... ~ 4 standing of the meaning of the art of music in general, as well as of the specific compositions performed; (2) contrib­ ute to a fUrther and broader insight into the subject, through actual application of knowledge and skills previous­ ly gained; and ()) contribute to total musical growth through the new experiences involved in the presentation of a music recital. Sources ~ data. The data gathered concerned the background and the styles of the composers whose works were performed. They were derived from the standard, authori­ tative reference books in musio history and biography. In addition, certain specific biographies and music commen­ taries were consulted in the investigation. Organization 21_ remainder 21 ~ paper. The remainder of the paper will consist of the following sections: Chapter II will be concerned with a discussion of the background, planning, procedures and arrangements necessary for the prepa­ ration of the music recital; Chapter III will be a report of the investigation made of the composers' lives; and Chapter IV will be a discussion of the works performed in the recital. CHAPTER II PREPARATION AND PROCEDURES The preparation and procedures for the recital en­ tailed consideration of the tollowing points: {l) necessary background knowledge and basic skills; {2) steps in planning the recital; (3) procedures in preparing the music; and (4) technical arrangements for presentation of the recital. I. BACKGROUND KNOWLEDGE AND BASIC SKILLS The first problem in the development of the project was to determine the essential background knowledge and basic skills which should be acquired before attempting performance of instrumental chamber music. Such consider­ ation is paramount if success is to be achieved. Bac.kground knewledge. Knowledge of the history ot music, particularly in regard to style periods~ is a ne­ cessity if music is to be performed correctly. Haydon confirms this view as follows: The primary concern of the great majority of musicians is, undoubtedly, musical performance; •••• The prepa­ ration for performance means, primarily, the study ot a musical instrument. Yet the training in theory and history of music required in college and conservatory curricula is essential to intelligent musicianship. 1 Glen Haydon, Introduction !2_ Mu.sicology, (New York: Prentice-Hall, Inc., 1956), p. 11 • . · . 6 The importanee ot this baekgrouad knowledge can be observed, for instance, in playing certain figurations, such as trill and turn ornamentations, which vary in interpretation trom one style period to another. A grasp ot these different interpretations is essential in conforming to the style ot the period of the composition in question. A specific example of this point was found in the Telemann number which was chosen for performance. In order to interpret the turns and trills correctly, it was necessary to know that
Load more

Recommended publications
  • CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION
    19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION Patron Her Majesty The Queen President Sir John Tomlinson CBE Principal Professor Linda Merrick Chairman Nick Prettejohn To enhance everyone’s experience of this event please try to stifle coughs and sneezes, avoid unwrapping sweets during the performance and switch off mobile phones, pagers and digital alarms. Please do not take photographs or video in 0161 907 5555 X the venue. Latecomers will not be admitted until a suitable break in the 1 2 3 4 5 6 programme, or at the first interval, whichever is the more appropriate. 7 8 9 * 0 # < @ > The RNCM reserves the right to change artists and/or programmes as necessary. The RNCM reserves the right of admission. 0161 907 5555 X 1 2 3 4 5 6 7 8 9 * 0 # < @ > Welcome It gives me great pleasure to welcome you to Claude Debussy in 2018: a Centenary Celebration, marking the 100th anniversary of the death of Claude Debussy on 25 March 1918. Divided into two conferences, ‘Debussy Perspectives’ at the RNCM and ‘Debussy’s Late work and the Musical Worlds of Wartime Paris’ at the University of Glasgow, this significant five-day event brings together world experts and emerging scholars to reflect critically on the current state of Debussy research of all kinds. With guest speakers from 13 countries, including Brazil, China and the USA, we explore Debussy’s editions and sketches, critical and interpretative approaches, textual and cultural-historical analysis, and his legacy in performance, recording, composition and arrangement.
    [Show full text]
  • The Poetry of Symbolism and the Music of Gabriel Fauré
    THE POETRY OF SYMBOLISM AND THE MUSIC OF GABRIEL FAURÉ A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY LYNNELL LEWIS ADVISOR: DR MEI ZHONG BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 TABLE OF CONTENTS 1. Introduction ................................................................................... 1 2. Gabriel Fauré .................................................................................. 3 3. Fauré‟s Work and the Influences of Late 19th Century France .... 7 4. Paul Verlaine ................................................................................. 9 5. Fauré, Verlaine and Symbolism ..................................................... 14 6. Description of Songs and Performance issues ............................... 17 . Mandolin .............................................................................. 17 . En Sourdine .......................................................................... 18 . Green .................................................................................... 19 . A Clymène ........................................................................... 21 . C‟est l‟exstase ...................................................................... 23 7. Conclusion ...................................................................................... 25 Appendix of Poetry .............................................................................. 27 Mandoline ......................................................................................
    [Show full text]
  • Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL
    [Show full text]
  • Faurã©, Through Boulanger, to Copland: the Nature of Influence
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 9 January 2011 Fauré, through Boulanger, to Copland: The Nature of Influence Edward R. Phillips [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Phillips, Edward R. (2011) "Fauré, through Boulanger, to Copland: The Nature of Influence," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. FAURÉ, THROUGH BOULANGER, TO COPLAND: THE NATURE OF INFLUENCE EDWARD R. PHILLIPS Nymphs of the woods, Goddesses of the fountains, Expert singers of all nations, Change your voices, So clear and high, To cutting cries and lamentations Since Atropos, the very terrible satrap, Has caught in her trap your Ockeghem, True treasure of music . Dress in your clothes of mourning, Josquin, Piersson, Brumel, Compère, And cry great tears of sorrow for having lost Your dear father. n the late fifteenth century, Josquin set this text—“Nymphes des bois,” La déploration sur la I mort de Johannes Ockeghem—as a commemoration of the older composer, “le bon père” of Josquin and his contemporaries Brumel, Compère, and Pierre de la Rue.
    [Show full text]
  • Charles Koechlin Manuscripts, 1905-1945
    http://oac.cdlib.org/findaid/ark:/13030/tf558004dg No online items Inventory of the Charles Koechlin manuscripts, 1905-1945 Processed by Robert Orledge; machine-readable finding aid created by Xiuzhi Zhou Hargrove Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives © 1999 The Regents of the University of California. All rights reserved. Inventory of the Charles Koechlin ARCHIVES KOECHLIN 1 1 manuscripts, 1905-1945 Inventory of the Charles Koechlin Manuscripts, 1905-1945 Collection number: ARCHIVES KOECHLIN 1 Contact Information Hargrove Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives Processed by: Robert Orledge Date Completed: ca. 1986 Encoded by: Xiuzhi Zhou © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charles Koechlin Manuscripts Date (inclusive): 1905-1945 Collection number: ARCHIVES KOECHLIN 1 Creator: Koechlin, Charles, 1867-1950 Extent: Number of containers: 6 boxes Repository: The Music Library Berkeley, California 94720-6000 Shelf location: For current information on the location of these materials, please consult the Library's online catalog. Language: English. Donor: From the estate of Charles Shatto, received in the spring of 1983. See also the collections in this catalog under Charles Shatto and Catherine Urner. Access Collection is open for research. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of the Music Library. Preferred Citation [Identification of item], Charles Koechlin manuscripts, ARCHIVES KOECHLIN 1, The Music Library, University of California, Berkeley.
    [Show full text]
  • OS COMPOSITORES E SEU TEMPO Normando Carneiro
    Normando Carneiro OS COMPOSITORES E SEU TEMPO Normando Carneiro Natal 2018 1 Os Compositores de seu tempo Normando Carneiro Vivaldi, Antonio (1678-1741) Compositor e violinista italiano, o mais influente de sua época. Nasceu em 04/03/1678 em Veneza, estudou com seu pai, violinista na catedral de San Marcos. Ordenou-se sacerdote em 1703, chamavam-no interprete russo (o cura ruivo), e começou a ensinar no Ospedale della Pietá que era um estabelecimento para meninas órfãs. Trabalhou ali como diretor musical até 1740, como professor e compunha concertos e oratórios para os concertos semanais através dos que conseguiu uma fama internacional. A partir de 1713 Vivaldi também trabalhou como compositor e empresário de óperas em Veneza e viajava a Roma, Mantua e outras cidades para supervisionar as representações de suas óperas. Para 1740 entrou ao serviço do corte do imperador Carlos VI em Viena. Faleceu nesta cidade o 28 de julho de 1741. Composições Vivaldi escreveu mais de 500 concertos e 70 sonatas, 45 óperas, música religiosa como o oratório Judithatriumphans (1716), a Glória em re (1708), missas e motetes. Suas sonatas instrumentais são mais conservadoras que seus concertos e sua música religiosa com frequencia reflete o estilo operístico da época e a alternância de orquestra e solistas que ajudou a introduzir nos concertos. Johann SebastianBach, contemporâneo seu, embora algo mais jovem, estudou a obra de Vivaldi em seus anos de formação e de alguns dos concertos para violino e sonatas de Vivaldi só existem as transcrições (em sua maior parte para clavecín) de Bach. 2 Os Compositores de seu tempo Normando Carneiro Johann Sebastian Bach (Eisenach, 21/03/1685 — Leipzig, 28/07/1750) Compositor, cravista, Kapellmeister, regente, organista, professor violinista e violista oriundo do Sacro Império Romano-Germânico, atual Alemanha.
    [Show full text]
  • Collections of Musicians' Letters in the UK and Ireland: a Scoping Study
    Collections of musicians’ letters in the UK and Ireland: a scoping study Katharine Hogg, Rachel Milestone, Alexis Paterson, Rupert Ridgewell, Susi Woodhouse London December 2011 1 Acknowledgements The authors would like to thank all those who gave their time and expertise to make this scoping study possible. They include: the staff of organisations and individuals responding to the survey, staff at the BBC Written Archives, Oxford University Press, the London Symphony Orchestra, Cheltenham Festivals, Royal Festival Hall, Royal Academy of Music, Royal Society of Musicians, and those who kindly agreed to be interviewed on their use and perception of archives of letters. © Music Libraries Trust 2012 2 Contents 1. Introduction ...................................................................................................................................... 5 2. Rationale ........................................................................................................................................... 5 2.1. The resource................................................................................................................................................ 5 2.2. Repositories ................................................................................................................................................ 5 2.3. Resource discovery...................................................................................................................................... 6 2.4. Data integration..........................................................................................................................................
    [Show full text]
  • Charles Koechlin, Professor De Camargo Guarnieri Revista Do Instituto De Estudos Brasileiros, Núm
    Revista do Instituto de Estudos Brasileiros ISSN: 0020-3874 [email protected] Universidade de São Paulo Brasil Camargo Toni, Flávia Mon chèr élève: Charles Koechlin, professor de Camargo Guarnieri Revista do Instituto de Estudos Brasileiros, núm. 45, septiembre, 2007, pp. 107-122 Universidade de São Paulo São Paulo, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=405641267007 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto revista do ieb n 45 p. 107-122 set 2007 Mon chèr élève: Charles Koechlin, professor de Camargo Guarnieri1 Flávia Camargo Toni2 Resumo Compositor de ofício, Camargo Guarnieri ganhou uma bolsa de estudos para se aperfeiçoar e elegeu Charles Koechlin, autor de sólida bibliografia, como professor. Nas memórias cole- cionadas pelo músico brasileiro, no entanto, o caderno das aulas indica que o aluno trabalhou noções elementares de harmonia e contraponto, o que não condiz com o gabarito de nenhum deles. A análise da documentação pertencente aos acervos dos dois ar- tistas tenta elucidar quais motivos levaram Guarnieri a escolher aquele que foi, coincidentemente, mestre de Fernando Lopes- Graça, autor português. Palavras-chave Camargo Guarnieri, Fernando Lopes-Graça, Charles Koechlin, Mário de Andrade, música brasileira, musicologia. 1 Texto resultante de apresentações orais que focalizaram a relação de amizade e trabalho entre Camargo Guarnieri e Fernando Lopes-Graça, e entre Camargo Guarnieri e Charles Koechlin, em colóquios ocorridos em abril (O artista como intelectual: no centenário de Fernando Lopes Graça, Universidade de Coimbra, Portugal) e novembro de 2006 (Colloque International Charles Koechlin, Sorbonne, França), respectivamente.
    [Show full text]
  • Julius Drake
    SESSION 6: ‘Songs about rivers, brooks, seas & oceans’ JULIUS DRAKE MARCH 2019 Marie-Claude Solanet 17 March | 10h30 – 13h30 18 March | 10h30 – 16h30 La Monnaie, Koorzaal, Muntplein, 1000 Brussels Julius Drake 19 March | 12h00 – 17h00 20 March | 10h30 – 14h30 Maison Solanet, Edith Cavellstraat 83, 1180 Brussels MARCH 2019 – Songs about rivers, brooks, seas & oceans | MARIE-CLAUDE SOLANET | Sunday 17 March 2019 Monday 18 March 2019 Koorzaal Koorzaal 10.30: Esther & Elias 10.30: Gema & Sylwia 11.00: Amalia & Caterina 11.00: Agata & Michalina 11.30: Małgorzata & Sylwia (1h) 11.30: Amalia & Caterina 12.30: Agata & Michalina 12.00: Annelies & Frederik (1h) 13.00: Gema & Sylwia 13.30: end – lunch break 13.00 - 14.00 – 14.00: Esther & Elias 14.30: Rik & Sylvie (1h) 15.30: Małgorzata & Sylwia (1h) 16.30: end | JULIUS DRAKE | Tuesday 19 March 2019 Wednesday 20 March 2019 Maison Solanet Maison Solanet 12.00: Annelies & Frederik 10.30: Esther & Elias 12.30: Rik & Sylvie (1h) 11.00: Amalia & Caterina 11.30: Małgorzata & Sylwia – lunch break 13.30 - 14.30 – 12.00: Agata & Michalina 14.30: Esther & Elias – lunch break 12.30 - 13.30 – 15.00: Amalia & Caterina 15.30: Gema & Sylwia 13.30: Gema & Sylwia 16.00: Agata & Michalina 14.00: Annelies & Frederik 16.30: Małgorzata & Sylwia 14.30: end 17.00: end REPERTOIRE: MARCH 2019 – Songs about rivers, brooks, seas & oceans _____________________________________________________________________________________ Gema Hernández, mezzo-soprano & Sylwia Michalik, piano Ernest A. Chausson (1855-1899) Sérénade Italienne, op. 2 (text: Louis Brisset 1872-1939) Hector Berlioz (1803-1869) L’île inconnue, op. 7 no. 6 (text: Pierre-J.-T.
    [Show full text]
  • Koechlin the Astronomer
    Koechlin the Astronomer How Popular Astronomy Inspired the French Avant-Garde By Evan Kassof Abstract In this paper, I posit that there is a meaningful connection between the growth of popular astronomy in Parisian culture and a new focus on astronomically-inspired music (instead of astrological) by Charles Koechlin. Specifically, I present a brief history of popular astronomy in European culture from the mid-19th century through the early 20th century, followed by a biographical portrait of Koechlin (demonstrating his intimate connection with astronomy), and conclude with an analysis of Koechlin’s orchestral work Vers la Voûte étoilée. In this analysis, I use Vogl’s philosophical constructions of the telescope as a unique and self-referential form of media to present a reading of Vers la Voûte étoilée as a three-part portrait of the astronomer Camille Flammarion (the work’s dedicatee), with each musical section corresponding to the three aspects of the telescope: the viewed object, the viewer, and the telescope itself. Section I – Astronomy at the Turn of the 20th Century “The period from roughly 1860 to 1910 was one of profound transformation for the scenes of the observatory, one that also included the emergence of astrophysics and the establishment of a great number of popular observatories and Uranias [a scientific society aimed at communicating science to the broader public]. Popular astronomy can be conceived of as a matrix from which a number of specialized constituencies progressively emerged in the period: astrophysicists, science popularizers, and amateur astronomers.” (C. Bigg 2010, 307) It is in this environment that the French musical avant- garde comes of age.
    [Show full text]
  • ABSTRACT Title of Dissertation: FRENCH CHARACTER PIECES
    ABSTRACT Title of Dissertation: FRENCH CHARACTER PIECES (1860-1960) Cindy Lin, Doctor of Musical Arts, 2013 Dissertation directed by: Professor Bradford Gowen School of Music My dissertation recording project explores a variety of musical works that realize the expressive and organizational potential of a highly coloristic approach to composition. I focus on French character pieces written between 1860 and 1960. Although numerous French character pieces were written before 1860 and after 1960, I have narrowed the scope of the list to the time range of a century. In this research, I analyze some of the works of ten composers in chronological order to show the subtle changes in style over time. The micro-level expressive qualities of these pieces as well as their macro-level organizational structures are analyzed in this document. The sources for the selected works include: 48 Esquisses, Op. 63 by Charles- Valentin Alkan; Dix piѐces pittoresques by Emmanuel Chabrier; Etudes de Concert, Op. 35 and Romances sans paroles, Op. 76 by Cécile Chaminade; Préludes (Book I and II) and Estampes by Claude Debussy; Miroirs by Maurice Ravel; Cerdaña by Déodat de Séverac; Les Heures persanes, Op. 65 by Charles Koechlin; Napoli Suite by Francis Poulenc; La Muse ménagѐre, Op. 245 by Darius Milhaud; and Préludes and Vingt Regards sur l’Enfant Jésus by Olivier Messiaen. I have recorded approximately two hours of solo piano music. The selected pieces were recorded on a Steinway “D” in Martha-Ellen Tye Recital Hall at Iowa State University, Ames, Iowa by Peter Nothnagle. This document is available in the digital Repository at the University of Maryland and the CD’s are available through the Library System at the University of Maryland.
    [Show full text]
  • Koechlin's Volume: Perception of Sound Extensity Among Instrument
    MSX0010.1177/1029864916649638Musicae ScientiaeChiasson et al. 649638research-article2016 Article Musicae Scientiae 1 –19 Koechlin’s volume: Perception of © The Author(s) 2016 Reprints and permissions: sound extensity among instrument sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1029864916649638 timbres from different families msx.sagepub.com Frédéric Chiasson Université de Montréal, Canada Caroline Traube Université de Montréal, Canada Clément Lagarrigue Université de Montréal, Canada Stephen McAdams McGill University, Canada Abstract Charles Koechlin’s Traité de l’orchestration ascribes different dimensions to timbre than those usually discussed in multidimensional scaling studies: “volume” or grosseur, related to extensity (the sound’s perceived size), and intensity, related to loudness. Koechlin also provides volume rankings for orchestral instruments in different registers. Studies show that humans, as well as several animal species, perceive extensity for many sound sources, but none has demonstrated its relevance for musical instruments from different families. To test extensity, samples of seven orchestral instruments equalized in pitch, but not in loudness, were used. Task 1 required participants to order eight sets of samples on a largeness (grosseur) scale from “less large” (moins gros) to “larger” (plus gros). Task 2 required them to quantify the sounds’ largeness compared to a reference sample on a ratio scale. Both studies show that participants share a common extensity perception for instrument timbres of different families that is very similar to Koechlin’s proposed scale. This perception seems to be related to spectral shape and particularly to acoustic energy in the lower frequencies. Perception of this attribute is unrelated to musical training, native language, and the presence of minor hearing loss, which suggests that extensity could be a universal attribute of timbre perception that is useful in orchestration practice and theory.
    [Show full text]