The Chalumeau As 'Signifier'
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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Giovanni Paolo Colonna "Psalmi Ad Vesperas" Op. 12: Introduction
GIOVANNI PAOLO COLONNA Psalmi ad Vesperas OPUS DUODECIMUM, 1694 Edited by Pyrros Bamichas May 2010 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 18 Contents INTRODUCTION ......................................................................................................................... iii The Composer ........................................................................................................................ iii The Music .............................................................................................................................. vi Liturgical Practice .................................................................................................................. xi Acknowledgments................................................................................................................. xii CRITICAL COMMENTARY ..................................................................................................... xiv The Sources .......................................................................................................................... xiv Other Sources for the Pieces of Op. 12 .............................................................................. xviii Editorial Method ................................................................................................................... xx Critical Notes ....................................................................................................................... xxi [1] Domine ad adjuvandum -
Breathtaking-Program-Notes
PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice. -
Çalgı Bilgsi Dersi 1. Dönem (Üflemeli)
A. Ü. Devlet Konservatuvarı Eğitim – Öğretim Programı Çalgı Bilgisi Dersi (seçmeli) ( I. Dönem - Üflemeli Çalgılar ) (çalgılar, senfoni orkestrasının partisyon sıralamasına göre verilmiştir) Dr. Öğr. Üyesi İvan ÇELAK (CELAC) TAHTA ÜFLEMELİ ÇALGILAR FLÜT AİLESİ Flüt, yaklaşık 7 bin yıldır var olan bir enstrümandır. Üflemeli çalgılar arasında en eskilerden biri olan flütü, Yunan Tanrıçası Athena'nın da çaldığı bilinmektedir; anavatanı Eski Yunan ve bazı Asya ülkeleri olarak bilinir. Bunlar arasında Latin Amerika ülkelerine de rastlamak mümkündür. Ancak flütün ortaya çıkışının ‘’anonim’’ olduğu söylenebilir. 1700’lü yıllara kadar ilk yapıldığı haliyle kullanılan flüt, daha sonra geliştirilerek günümüze kadar gelmiştir. Ünlü alman flütçü Theobald Boehm, Pentenrieder ve Greve gibi flütistler ilkel kullanımın yetersiz kalışıyla flütü bugünkü haline getiren bir takım tasarımlara geliştirmişlerdir. B. Pentenrieder (Munich, c.1840), basit sistem (7-delik) Boehm and Greve (Munich, c.1829), basit sistem (9-delik) 1832 yılında Boehm’in geliştirdiği ve günümüzdeki flüte en yakın tasarımı Senfoni orkestrası içinde ise, ‘’tahta üflemeliler’’ grubunda Obue ve Fagot ailesi ile birlikte yer alan Flüt ailesi şu enstrümanlardan oluşur: • Piccolo flüt • Sol flüt (alto) • Do flüt • • Piccolo Flüt: . İng.: Piccolo, Alm.:Kleine Flöte, It.: Flauto Piccolo (ottavino: bir oktav üstten). Orkestrada bir tane bulunur. Piccolo flütlerde kuyruk kısmı yoktur ve 30 cm uzunluğundadır Piccolo partisi genellikle flüt grubunun üst registerini genişletmek için kullanılır. Orkestra içinde ‘’tutti’’lerde bile sivrilebilir; orkestra tınısına parlaklık getirir. Çoğu zaman (sololar hariç) flütlerde birlikte kullanılır. Orkestrada daimi bir enstürmandır. Piccolo flüt, büyük flütün hemen hemen yarısı kadar uzunluktadır. Büyük flütteki kuyruk bölümü piccolo flütte yoktur. Bu nedenle de büyük flütün en kalın sesleri olan Do ve Do diyez sesleri küçük flütte bulunmaz. -
Radio 3 Listings for 28 December 2019 – 3 January 2020 Page 1 of 16
Radio 3 Listings for 28 December 2019 – 3 January 2020 Page 1 of 16 SATURDAY 28 DECEMBER 2019 (conductor) BBC National Orchestra of Wales Jac van Steen (conductor) SAT 01:00 Through the Night (m000cpsr) 05:01 AM BIS BIS2408 (Hybrid SACD) - Released 3rd January 2020 Regensburger Domspatzen at Tage Alter Musik Judith Weir (1954-) String quartet Ravel: Jeux de Miroirs Leopold Mozart shows himself to be a serious composer at the Silesian Quartet Javier Perianes (piano) height of his powers with his Symphony in G and Missa Orchestre de Paris Solemnis. They are performed at the Tage Alter Musik festival 05:13 AM Josep Pons (conductor) in Regensburg, Germany, by the Regensburger Domspatzen and Franz Schubert (1797-1828) Harmonia Mundi HMM902326 the Hofkapelle Munich. Catriona Young presents. 4 Impromptus for piano, D 899 (No 4 in A flat) http://www.harmoniamundi.com/#!/albums/2571 Arthur Schnabel (piano) 01:01 AM 9.30am Building a Library Leopold Mozart (1719-1787) 05:21 AM Symphony in G 'Neue Lambacher', for strings Johann Philipp Kirnberger (1721-1783) Laura Tunbridge discusses a wide range of approaches to Hofkapelle Munchen, Rudiger Lotter (conductor) Cantata, 'An den Flussen Babylons' Schumann's searing Heine cycle and recommends the key Johannes Happel (bass), Balthasar-Neumann-Chor, Balthasar- recording to keep for posterity. 01:18 AM Neumann-Ensemble, Detlef Bratschke (conductor) Leopold Mozart (1719-1787) 10.20am New Releases Missa Solemnis in C 05:33 AM Katja Stuber (soprano), Dorothee Rabsch (contralto), Robert Joaquín Turina (1882-1949) -
Chalumeau in Oxford Music Online Oxford Music Online
18.3.2011 Chalumeau in Oxford Music Online Oxford Music Online Grove Music Online Chalumeau article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/05376 Chalumeau (from Gk. kalamos , Lat. calamus : ‘reed’). A single-reed instrument of predominantly cylindrical bore, related to the clarinet (it is classified as an AEROPHONE ). The term originally denoted a pipe or bagpipe chanter, but from the end of the 17th century was used specifically to signify the instrument discussed below. 1. History and structure. It seems likely that the chalumeau evolved in the late 17th century from attempts to increase the volume of sound produced by the recorder; the retention of the latter’s characteristic foot-joint is evidence of the close physical relationship between the two instruments. Two diametrically opposed keys were soon added above the seven finger-holes and thumb-hole of the chalumeau, bridging the gap between the highest note and the lowest overblown 12th. The relatively large dimensions of the vibrating reed and the mouthpiece to which it was tied, however, were principally designed to produce the fundamental register. The clarinet itself evolved when the thumb-hole was repositioned, the mouthpiece was reduced in size to facilitate overblowing, and the foot-joint was replaced by a bell to improve the projection of sound. Since the clarinet functioned rather unsatisfactorily in its lowest register, the chalumeau was able for a time to retain its separate identity. J.F.B.C. Majer remarked that since the technique required was broadly comparable, a recorder player could handle the chalumeau, though the latter is described as ‘very hard to blow because of its difficult mouthpiece’ (‘ratione des schweren Ansatzes sehr hart zu blasen’). -
A Clarinet Players Companion
A Clarinet Players Companion A Clarinet Players Companion (A supplemental guide to be used in addition to a method book) Practical Application #2 3/31/2012 Matthew Symes American Band College at Sam Houston State University 1 A Clarinet Players Companion Contents Introduction and about the Author 3 History of the Clarinet and Timeline 4 The Anatomy of the Clarinet 7 Basics of a Reed 8 Cork Grease 10 Putting it all Together 11 Putting the Reed on 15 Putting it All Away 17 Daily Care of your Clarinet 17 Holding the Clarinet 19 Posture Check 24 Making the First Sound 24 Marking Your Reed 27 Creating the First Tone 29 Clarinet Tone Quality 30 Tone and Range 34 The Break 38 Articulations 41 Dynamics 44 Basic Fingering Guide 47 Trills and Tremolos 49 Trill Fingering Guide 50 Tuning and Pitch Tendencies 51 Famous Clarinetists and Recordings 55 Pitch Tendency Chart 57 Practice Log 58 Tips for Parents 59 References 60 2 A Clarinet Players Companion About the Author Matthew Symes is originally from Sioux Falls, South Dakota. He received a Bachelor’s degree in Music Education from the University of South Dakota. He taught band for 3 years at Lake Havasu High School in Lake Havasu City, Arizona. He has been teaching middle school band for the past three years in Las Vegas, Nevada. He is currently the Band Director at Jim Bridger Middle School in Las Vegas, Nevada. Introduction This book was written in part for the American Band College of Sam Houston State University as a Practical Application assignment and in partial fulfillment of the American Band College Masters Degree Program. -
The University of North Carolina at Chapel Hill Music Department
The University of North Carolina at Chapel Hill Music Department UNC Music Workshop Presents: Faculty Recital July 22, 2019 8:00 pm Moeser Auditorium ~ Program ~ Chopin Robert Schumann from Carnaval, Op. 9 (1810 - 1856) Ballade No. 2 in F Major, Op. 38 Frédéric Chopin dedicated to Robert Schumann (1810 - 1849) Frank Pittman, piano Gruss Edvard Grieg (1843 - 1907) Ideale Paolo Tosti (1846 - 1916) Bleuet Francis Poulenc (1899 - 1963) Jordan Wilson, baritone Frank Pittman, piano Se tu m’ami Giovanni Battista Pergolesi (1710 - 1736) Per la gloria d’adorarvi Giovanni Bononcini (1670 - 1747) El tra la la y el punteado Enrique Granados (1867 - 1916) El majo tímido Enrique Granados Mary Gayle Greene, mezzo-soprano Frank Pittman, piano Alleluia Cécile Chaminade (1857 - 1944) Canción de la Infanta Pauline Viardot (1821 - 1910) An April Day Florence Price (1887 - 1953) Jeanne Fischer, soprano Frank Pittman, piano Et misericordia Johann Sebastian Bach from Magnificat in D dur (1685 – 1750) Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Liebeslieder Walzer, Op. 52 Johannes Brahms (1833 – 1897) 1. Rede Mädchen, allzu liebes 2. Am Gesteine rauscht die Flut Neue Liebeslieder Walzer, Op. 65 15. Zum Schluß Jeanne Fischer, soprano Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Jordan Wilson, baritone ******************************************** A native of North Carolina, Jeanne Fischer received her BA in Music and English from UNC-Chapel Hill. She continued her studies in the United Kingdom on a British Marshall Scholarship, completing an MM and Artist’s Diploma at London’s Royal Academy of Music. She received her DMA from the University of Maryland. Her solo performances include appearances with the Smithsonian Chamber Players, The Bach Sinfonia, the Washington Bach Consort, Princeton’s Dryden Ensemble, and the University of Maryland Symphony. -
Heckelphone / Bass Oboe Repertoire
Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org. -
The History of the Clarinet in South Africa
The History of the Clarinet in South Africa by Becky L. Steltzner M.Mus. (University of Southern California) Thesis Presented in partial fulfilment of the Degree of DOCTOR OF PHILOSOPHY in the South African College of Music Faculty of Humanities University of Cape Town February 2016 Supervisor: Prof. Dr. Rebekka Sandmeier University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Copyright © 2016 Becky L. Steltzner The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. Abstract This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers’ journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet’s South African history is within it. -
Émergence Des Auto-Oscillations Dans Un Instrument De Musique À Anche Simple
Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple Fabrice Silva sous la direction de J. Kergomard, Ch. Vergez et Ph. Guillemain Laboratoire de Mécanique et d’Acoustique & Université de Provence Projet ANR Consonnes 7 décembre 2009 Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 1 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Plan 1 Contexte et motivations Des instruments à anche simple. aux manifestations de l’anche. 2 Simulation temporelle des auto-oscillations Décomposition modale d’un résonateur acoustique augmenté MOREESC 3 Seuils d’oscillation des instruments à anche simple Étude théorique Expérimentations 4 Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 2 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Plan 1 Contexte et motivations Des instruments à anche simple. aux manifestations de l’anche. 2 Simulation temporelle des auto-oscillations Décomposition modale d’un résonateur acoustique augmenté MOREESC 3 Seuils d’oscillation des instruments à anche simple Étude théorique Expérimentations 4 Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 3 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives