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The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
Chamberworks a Musical Joke
presents ChamberWorks A Musical Joke Letitia Quante, violin David Horak, violin and viola Marcia Cassidy, viola John Dunlop, cello Patrick Kennelly, horn Michael Huang ’20, horn Sun, Jan 19, 1 pm Top of the Hop • Dartmouth College • 2020 ChamberWorks is a series of free concerts presented by the Hop and the Dartmouth Department of Music, showcasing the talent of faculty and special guests, and is made possible by support from the Griffith Fund. Program Horn Quartet in E flat Major, K. 407 Wolfgang Amadeus Mozart (1756–1791) I. Allegro II. Andante III. Rondo: Allegro Quartet in C major, Op. 33, no. 3 The Bird Joseph Haydn (1732–1809) I. Allegro Moderato II. Scherzo – Allegro III. Largo IV. Presto Ein Musikalischer Spass (A Musical Joke), K. 522 Wolfgang Amadeus Mozart I. Allegro II. Menuetto and trio III. Adagio cantabile IV. Presto Program Notes Horn Quintet in E flat major K. 407 Germany and Austria and earning a considerable salary Wolfgang Amadeus Mozart (1756-1791) during a brief stint with Haydn’s orchestra in Esterhazy. Unfortunately, recent scholarship has cast doubt on the Mozart’s works containing parts for the horn can broadly idea, long-cherished by horn players, that he retired from be put in two categories: those written for hornists playing to open a cheesemonger’s shop on the outskirts whose playing he knew and esteemed, and those who of Vienna. couldn’t be trusted. Of the first category, to which his Horn Quintet K. 407 belongs, most were written for his But even if those biographical details were unknown, friend Joseph Leitgeb (or Leutgeb). -
CRPH106 URBANA 66 Oec410e.105 EMS PRICE MF $O,45 HC...$11,60 340P
N080....630 ERIC REPORT RESUME ED 013 040 9..02..66 24 (REV) THE THEORY OFEXPECATION APPLIEDTO MUSICAL COLWELL, RICHARD LISTENING GFF2I3O1 UNIVERSITYOF ILLINOIS, CRPH106 URBANA 66 OEC410e.105 EMS PRICE MF $O,45 HC...$11,60 340P. *MUSIC EDUCATION, *MUSIC TECHNIQUES,*LISTENING SKILLS, *TEACHING METHODS,FIFTH GRADES LISTENING, SURVEYS, ILLINFrLS,URSAMA THE PROJECT PURPOSES WERE TO IDENTIFY THEELEMENTS IN MUSICUSED BY EXPERT LISTENERS INDETERMINING THE ARTISTIC DISCOVER WHAT VALUE OF MUSICS TO MUSICAL SKILLS ANDKNOWLEDGES ARE NECESSARY/ LISTENER TO RECOGNIZE FOR THE THESE ELEMENTS, ANDTO USE THESE CMIPARiSON WITH A FINDINGS IN A SPECIFIC AESTHETICTHEORY. ATTEMPTSWERE PACE TO DETERMINE WHETHERTHESE VALUE ELEMENTSARE TEACHABLE, LEVELS AT WHICH IF SOS THE AGE THEY ARE TEACHABLE,THE CREATION OF EVALUATE RECOGNITION MEASUREMEN7S TO OF THESE ELEMENTS,AND THE SKILLS AND KNOWLEDGES USED* THE TWO PROBLEMSSTUDIED WERE (1) THE KNOWLEDGES A STUDENT SKIMAS AND WOULD NEED TO PARTICIPATEIN THE MUSICAL EXPERIENCE AS DESCRIBEDBY MEYER S THEORY WHETHER THESE OF EXPECTATIONAND (2) PROBLEMS COULD BETAUGHT WITHIN A 2 FIFTH GRADE CHILDREN* YEAR PERIOD TO THE TOTAL LIST OFSKILLS AND KNOWLEDGES (APPROPRIATE FORMUSICAL LISTENINGAND GATHERED FROM EXPERTS) WAS OBVIOUSLY THE MUSICAL MUCH TOO EXTENSIVEAND DIFFICULT TOUTILIZE IN A ONE YEARGRADE SCHOOLCOURSE. TWENTY SEVEN WERE USED IN FIF=TH GRADE CLASSES INTERPRETING THERESULTS OF THE STUDYAND DRAW FROM THEM*APPROXIMATELY 10 PERCENTOP THE TESTSMEW THESE CLASSESWERE HIGHLYCOMMENDABLE, WITH MELODIES, CONTRASTING CADENCES, PHASESS PARTS, TIMBRE, ANDCI IMAXES ALLCORRECTLY IDENTIFIED AND MARKED.TWO VIEWPOINTS RESULTED FROM THESTUDV...(1) DESIRABILITY OF ANEARO,Y START ININTENSIVE MUSICAL THE IMPRACTICABILII"E LEARNING AND (2) OF TEACHING ADEQUATEMUSICAL SKILLS AND KNOWLEDGES WITHINTHE EXISTING ELEMENTARY MUSICFRAMEWORK BECAUSE OF LIMITED TIME ALLOWED,(GC) U. -
The “Da Ponte” Operas : Music in the Seventeenth and Eighteenth Cent
The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Lorenzo da Ponte Le nozze di Figaro THE “DA PONTE” OPERAS Chapter: CHAPTER 9 Enlightenment and Reform Source: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Author(s): Richard Taruskin After Die Entführung , Mozart did not complete another opera for four years. Part of the reason for the gap had to do with his burgeoning career in Vienna as a freelancer, which meant giving lots of concerts, which (as we will see) meant writing a lot of piano concertos. But it was also due to Joseph II’s unexpected disbanding of the national singspiel company and its replacement by an Italian opera buffa troupe at court whose regular composers Giovanni Paisiello, Vincente Martìn y Soler, and Antonio Salieri—Italians all (Martìn being a naturalized Spaniard)—had a proprietary interest in freezing out a German rival, especially one as potentially formidable as Mozart. 1 / 4 2011.01.27. 15:29 The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... fig. 9-7 Lorenzo da Ponte, engraving by Michele Pekenino after a painting by Nathaniel Rogers (Mozarteum, Salzburg). Mozart’s letters testify to his difficulty in gaining access to Lorenzo da Ponte (1749–1838, original name Emmanuele Conegliano), the newly appointed poet to the court theater. (There was a certain typically Joseph II symbolism in the fact that a specialist in opera buffa should have been chosen to replace the aged Metastasio, the paragon of the seria , who died in 1782 at the age of 84.) “These Italian gentlemen are very civil to your face,” Mozart complained to his father in 1783. -
A Wind Ensemble Adaptation and Conductor's Analysis of Selected Movements of Darius Milhaud's Saudades Do Brazil, with A
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2005 A wind ensemble adaptation and conductor's analysis of selected movements of Darius Milhaud's Saudades do Brazil, with an examination of the influences of Ernesto Nazareth Monty Roy Musgrave Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Musgrave, Monty Roy, "A wind ensemble adaptation and conductor's analysis of selected movements of Darius Milhaud's Saudades do Brazil, with an examination of the influences of Ernesto Nazareth" (2005). LSU Major Papers. 32. https://digitalcommons.lsu.edu/gradschool_majorpapers/32 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A WIND ENSEMBLE ADAPTATION AND CONDUCTOR’S ANALYSIS OF SELECTED MOVEMENTS OF DARIUS MILHAUD’S SAUDADES DO BRAZIL, WITH AN EXAMINATION OF THE INFLUENCES OF ERNESTO NAZARETH A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Monty Roy Musgrave B.M.E., University of Florida, 1982 M.M., Florida State University, 1994 August 2005 ACKNOWLEDGEMENTS I wish to thank the members of my committee, including my Major Professor, Frank B. Wickes, for supporting the ideas that resulted in the culmination of this project. -
Stuttgart Chamber Orchestra
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Stuttgart Chamber Orchestra LEON FLEISHER Conductor JOHN O'CONOR, Pianist FRIDAY EVENING, FEBRUARY 16, 1990, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Serenade No. 13 in G major, K. 525 .............................. MOZART ("Eine kleine Nachtmusik") Allegro Andante Menuetto Presto Piano Concerto No. 12 in A major, K. 414 ........................ MOZART Allegro Andante Allegretto JOHN O'CONOR, Pianist INTERMISSION Adagio for Strings (1936) ......................................... BARBER Serenade in C major for Strings, Op. 48 ....................... TCHAIKOVSKY Andante non troppo, allegro moderato Valse: moderato Elegie Andante, allegro con spirito The Stuttgart Chamber Orchestra, Lean Fleisher, and John O'Conor appear by arrangement with Columbia Artists Management Inc., New York City. The Stuttgart Chamber Orchestra acknowledges the valued assistance of American Airlines in famishing air transportation for the ensemble. Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, are available in the lobby. Twenty-fourth Concert of the lllth Season Twenty-seventh Annual Chamber Arts Series PROGRAM NOTES Serenade in G major, K. 525 ................. WOLFGANG AMADEUS MOZART ("Eine kleine Nachtmusik") (1756-1791) On August 10, 1787, Mozart entered into his notebook the work he had finished that day. Nothing had been listed for the entire month of July, but it had been a busy time due to his constant work on his opera Don Giovanni. In his records, Mozart wrote about "Eine kleine NachtMusick (sic), consisting of an allegro, minuet and trio, romance, minuet and trio, and finale. Two violins, viola and basses." Even Mozart scholars have had to admit that this best-known of all Mozart's chamber pieces is also one of his most enigmatic. -
General Catalogue 2021/2022
Urtext Urtext Editions Study Scores GEN Facsimiles Complete Editions Books ERAL Gifts CATA www.henle.com LOGUE Dealer‘s stamp 2021/ 2022 Printed in Germany HN 211001 Finest Urtext Editions TABLE OF CONTENTS Keyboard Instruments 3 Vocal Music 71 Piano (Harpsichord), 2-hands 3 Voice and Piano 71 Piano, 4-hands 33 Voice and Various Instruments 74 2 Pianos, 4-hands 34 Organ 36 Orchestral and Choral Works 74 Orchestra 74 String Instruments 37 Chorus and Orchestra 75 Etudes and Easy Repertoire for Students – Violin 37 Violin Solo 38 Study Edition 76 Violin(s) and Piano 38 Study Scores 76 Violin and Guitar 45 Study Scores Slipcase 86 Viola Solo 45 Viola and Piano 45 Facsimiles 87 Etudes and Easy Repertoire for Students – Violoncello 46 Violoncello Solo 47 Violoncello and Piano 47 Complete Editions 88 Double Bass Solo 50 Bartók Complete Critical Edition 88 Double Bass and Piano 50 Beethoven Works 89 Gamba 51 Johannes Brahms Works 92 Joseph Haydn Works 95 Plucked Instruments 51 Harp with other Instruments 51 Monuments of Music 103 Mandolin and Piano 51 The Legacy of German Music 103 Violin and Guitar 51 The Opera 104 Wind Instruments 52 Periodicals 104 Recorder 52 Haydn Studies 104 Flute Solo 52 Flute (Piccolo) and Piano 52 Books 106 Oboe and Piano 54 Miscellaneous 106 Clarinet and Piano 54 Thematic Indices 107 Saxophone (and Piano) 55 Catalogues of Music Collections in Bavaria 107 Bassoon and Piano 55 Staatsbibliothek zu Berlin – Preußischer Kultur- Horn and Piano 56 besitz – Catalogues of The Music Department 110 Trumpet and Piano 57 International -
Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
ewoo BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH %? CMusic Director kT Berkshire Festival 1962 Q)harles zJACunch conducts the ±$oston Symphony The talents of Charles Munch are particularly suited to the lush, romantic "Romeo and Juliet" by Tchaikovsky, and the playful, humorous antics of Strauss' "Till." Champion of the music of Ravel, Dr. Munch restores "Daphnis and Chloe" to a single, beautifully rounded work by presenting the delightful score in its entirety. Both albums are in Living Stereo and Monaural Hi-Fi. TCHAIKOVSKY ROMEO & JULIET STRAUSS TILL EULENSPIEGEL RCA VICTOR TMK'S « THE MOST TRUSTED NAME IN SOUND Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Berkshire Festivalj Season 1962 TWENTY- FIFTH SEASON MUSIC SHED AT TANGLEWOOD. LENOX, MASSACHUSETTS SECOND WEEK Concert Bulletin, ivith historical and descriptive notes by John N. Burk Copyright, 1962 by Boston Symphony Orchestra, inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C. Paine Abram Berkowitz E. Morton Jennings, Jr. Sidney R. Rabb Theodore P. Ferris Henry A. Laughein Charles H. Stockton Francis W. Hatch John T. Noonan John L. Thorndike Harold D. Hodgkinson Mrs. Tames H. Perkins Raymond S. Wilkins C D. Jackson Oliver Wolcott Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Tanglewood Advisor) Committee Alan J. Blah Henry W. Dwight George E. Mole Robert K. Wheeler Lenges Bull George W. Edman Whitney S. Stoddard H. George Wilde Lawrence K. Miller Jesse L. Thomason Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Samuel H. Sprott Lenox, William T. McCormack Lee, C. -
General Catalogue 2016/2017
General Catalogue 2016/2017 Urtext Editions Study scores Urtext Facsimiles Complete Editions Books Gifts FINEST URTEXTFINEST EDITIONS Hal Leonard Corporation P.O. Box 13819 Milwaukee, WI 53213 414-774-3630 FAX: 414-774-3259 Online: www.halleonard.com The catalog is also available on the Internet: www.henleusa.com This catalog is also available for download at www.halleonard.com/classical. By publication of this catalog, previous catalogs are no longer valid. All information in this catalog is subject to change without notice. Some products may not be available in North America. TABLE OF CONTENTS Keyboard Instruments 3 Vocal Music 59 Piano (Harpsichord), 2-hands 3 Voice and Piano 59 Piano, 4-hands 29 Voice and Various Instruments 61 2 Pianos, 4-hands 30 Organ 32 Orchestral and Choral Works 62 Orchestra 62 String Instruments 33 Chorus and Orchestra 62 Violin Solo 33 Violin(s) and Piano 33 Study Scores 63 Violin and Guitar 39 Viola Solo 39 Viola and Piano 39 Facsimiles 70 Violoncello Solo 40 Violoncello and Piano 40 Double Bass Solo 42 Complete Editions 71 Double Bass and Piano 42 Bartok Complete Critical Edition 71 Gamba 43 Beethoven Works 71 Johannes Brahms Works 75 Plucked Instruments 43 Joseph Haydn Works 76 Flute, Harp and Piano 43 Flute, Viola and Harp 43 Monuments of Music 85 Mandolin and Piano 43 The Legacy of German Music 85 Violin and Guitar 43 The Opera 85 Wind Instruments 44 Periodicals 86 Flute Solo 44 Haydn Studies 86 Flute and Piano 44 Oboe and Piano 45 Books 87 Clarinet and Piano 46 Saxophone and Piano 47 Miscellaneous 87 -
The Chamber Music Festival of the Bluegrass Thanks the Following Patrons Whose Generosity Has Made These Concerts Possible
THE CHAMBER MUSIC THE FESTIVALCHAMBER MUSIC OFFESTIVAL THE OF THE BLUEGRASSBLUEGRASS https://irm.shakervillageky.org/ irmnet/Res/ResMain.aspx KEEP IN TOUCH #shakervillageky The 2016 Chamber Music Festival of the Bluegrass featuring The Chamber Music Society of Lincoln Center THE 2016 CHAMBER MUSIC FESTIVAL OF THE BLUEGRASS the artists presented by Shaker Village of Pleasant Hill Wu Han, piano Join CMS Artistic Directors David Sean Lee, violin Finckel and Wu Han for special Arnaud Sussmann, violin performances in the Meeting House and the Meadow View Barn. Paul Neubauer, viola Chamber music enthusiasts will enjoy David Finckel, cello two educational lectures, led by a representative from Lincoln Center, that Calidore String Quartet thoroughly cover the history of each Jeffrey Myers, violin piece of music being performed. Ryan Meehan, violin Jeremy Berry, viola DISCOVERY STARTS HERE Great discoveries call for great explorers and Estelle Choi, cello today, Shaker Village of Pleasant Hill is reconnecting its vibrant campus to inspire a new community of adventurers, learners, makers, doers and supporters. The Historic Centre, The Farm and The Preserve are centers of exploration, jumping-off points for experiences built to ignite your trailblazing spirit. Learn more at shakervillageky.org. *Please turn off cell phones and other electronic devices. WANT MORE? Check out more than 250 programs, events and other moments of discovery online! Continue to check shakervillageky.org as programs and events will be added throughout the year! Become a member to receive free admission and other benefits all year long. Notes on the Program by DR. RICHARD E. RODDA WOLFGANG AMADEUS MOZART (1756-1791) DUO NO. -
Mozart - Booklet 12-9-11.Indd 1 13/09/2011 09:44 My First Ozart M Album
My First Mozar Album t 8.578204 My first Mozart - booklet 12-9-11.indd 1 13/09/2011 09:44 My First ozart M Album 2 8.578204 My first Mozart - booklet 12-9-11.indd 2 13/09/2011 09:44 Wolfgang Amadeus Mozart (born in 1756 · died in 1791) Meet Mozart… Wolfgang Amadeus Mozart is one of the most famous composers. When he was only three years old, he played the harpsichord and the violin. At the age of four he was making up his own music. He was so young that his father had to help him write it down. When he was six years old, Mozart and his older sister Nannerl were giving concerts to kings and queens and emperors. And Mozart wrote new music all the time, even when he was sitting in bumpy coaches travelling through Europe. He didn’t have a long life. But he wrote a lot of music and we hear it today in concerts and on recordings. He wrote symphonies for an orchestra to play. He wrote piano concertos for an orchestra and a solo piano, and he would play the piano part himself! And he wrote the music of many operas – these are like plays with singing – as well as hundreds of other pieces. People said that he composed and played music in the way that most of us breathe: it was completely natural for him. 3 8.578204 My first Mozart - booklet 12-9-11.indd 3 13/09/2011 09:44 For full track and performer details, see page 11. -
Selected Early Works by Hugo Wolf Jure Rozman Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 The formation of a style: selected early works by Hugo Wolf Jure Rozman Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Rozman, Jure, "The formation of a style: selected early works by Hugo Wolf" (2007). LSU Doctoral Dissertations. 1536. https://digitalcommons.lsu.edu/gradschool_dissertations/1536 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE FORMATION OF A STYLE: SELECTED EARLY WORKS BY HUGO WOLF A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By Jure Rozman B. M., Universität Mozarteum, Salzburg, Austria, 2001 M. M., Louisiana State University, 2003 May 2007 © Copyright 2007 Jure Rozman All rights reserved ii ACKNOWLEDGMENTS I would like to express many thanks to The Hugo Wolf Society of Slovenj Gradec, Slovenia. Their help with resources related to Hugo Wolf was very enthusiastic. In particular, I would like to thank Jože Leskovar, who generously allowed me to borrow his copy of Hugo Wolf’s works for piano and provided information regarding Wolf’s ancestry. Furthermore, I would like to thank my teacher Michael Gurt for his invaluable and inexhaustible knowledge of music.