DOCSLIB.ORG

Allen Organs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Allen Organs THE DIAPASON AN INTERNATIONAL MONH/Lr DEVOTED TO TilE ORGAN AND THE INTERESTS OF ORGANISTS Sixty·second YeaT~ No.9 - Whole No. 741 AUGUST. 1971 Sllllscriptions $'1.00 a year - 40 cents " copy ORGAN HISTORICAL SOCIETY CONVENTION Baltimore, .Md June 23-25 "That the present may learn from vised in 1968. It is a one· manual and the past" was the theme of this ytar's pedal organ. The second organ is a convention of the Organ Historical MoHer Artiste. The program of music Society heJd at B:dtirnore. Md .• June for two organs, performed by Haig 25·25. With Baltimore ilS home-base Mardirosi:m and Daniel Myer, was: they roamed from Southern Maryland Bach, Concerto in D Minor, fint mo\'e· 10 within a few miles of the Penn­ ment; Handel, Ccmurlo l' in F Majer; sylvania border and S3W and he:trd Soler, Concerto in D Major; Christian both old and new, An excellent article, WoUf, Snowdrops. This was followed "Baltimore Organs and Orgoln Build· by Mr. Mardirosian's playing a ing," by Thomas S. E3dcr. reprinted R;cercare by Cabrirli on tlle old organ. from the Maryland H;slor;cnl Magn­ Given the 1000tions of the organs, il nne, Fall 1970, &et the background for was not surprising that lhe tuni pas· their studies. sages were not alwa),s together in the Wednesday opened at the Unitarian Bach. The Handel, being more anti­ Church. designed by Maximilian Code­ phonal, minimized this diWculty. The froy in 1818. The original Thom::as Hall first movement revealed thr lovely flute organ, built in the shape of a lyre, was stop on the old organ :1Ild the second replaced in 1895 by a Henry Nirmann movement showed the clarity and organ. A(ter a h),mn.pr3elite SCS3ioll brightness of its tone. The Sol~r arne the group visited the org3ns at Pea· of( very nicely and spiritedly. body Cons.rrvatory, Snowdrops, by Christian "'oUf. is a The afternoon started with a walk:· contemporary piece dealing with bodies ing tour to sec the 1819 Thomas Hall of sound densities, durations and case at Ule Old C:lthcc.lral, the 1M! timbres, c1wters of tones and high and Schwab case at St. Alphonsus and the low register contrasts. As expl:linetl by 1859 Odell case: at 0111 51. Paul's, Mr. Mardirosian, the score gives con­ The fint concert was ;It St. Mary's siderable freedom to lhe pertonner in Srminary, designed in 1808 by Gode· interpreting Ihe composition. Many froy - the first COlhic revh'al building musicians compare this modem free­ in the U.s. The dl::lpel has an old dom with the baroque practice of Ie:1\" organ by Jardine ca. 1894 with Roose­ ing the interpretation of ornaments up vrlt pipework supplemented and reo 10 the performer, or to ule later free· St. Bamaba, Church, Upper Marlboro, Md.; Pomplitz & Rodewa!d organ, co. 18.5.5 St. Paul', Church, Baden, Md., Pomplitz organ, ca. 186.5 dom in interpolating Cldenzas. But the dose of the fi o t part. Oll ~ could ha\'c modern trend goes much funher - wished for more Variel)' o( lempo in more like a leacher's an ignment in the recitativcs, but the whole evening composition thall a composition itself. was one o( solid enjoyment in recrC3.t· The perfonner is gh'ell so much l~· ing the beauties of Ule past. way m interpreting and impro\'ising Thursday started with a visit to Old (hat one wonders who is reall)' the com· Otterbein United Methodist Church, f>OS<r. 1785. the oldest church in conslOLnt use Wedncs<.la)' night a scn'ice modell'tl In Baltimore. The Henry Niemann on those of Bach at St. Thonl35 was organ, installed in 1897. has two man· presented at 51. Luke E,'angciic:l1 uals and pedal, U stops and 5 couplen. Lutheran Church. The choirs of Christ In spite of the organ being out o( tune Lutheran Church (Bcthesda) and the in the hot Baltimore wealher, Robert Lutheran Church of the Hoi)' Com· 8 . Whiting demonstrated the organ's forter (Washington) ancl the orchestra and his capabilities by playing Bach's werc under the direction of J.awrence Ertodt tins dtlrch Dein Gute from Savage. Edith Ho, of the organ faculty Cantata 22, Edmundson's Fairest Lord :1( Peabody, was at the 1965 Walcker Je!us, GuHmant's Lilt Up Your Head,\, organ. Following the Leipzig custom, and concluded with a resounding rendi. there were no "Amrns" except after (continued on page 2) the hymn on the Creed, the sennan hymn was unaccompanied, all hymns 51. Paul', Church, Baden, Md. were preceded by chorale preludes on the tune to be used, and the Gospel was read twice. once in a foreign language and once in thr vernacular (Latin and Gennan in Bach's service, Gennan and English in this service). Mis.s Ho played the Prelude and Fugue ;u n minor as prelude, the Prelude and Fugue in C major as posllude anu the chor.tle preludes Ayrie Goll "nter '" Ewiglceit, Allei" Goll in der Hol,', Christ "mer Herr rum Jordan Itam, Wir glauben all' an einen GOII Schopfer, Herr jesu Christ dicll tu Utls wend and Am !ie/er NOI. She was beautifully at home on the Walcker organ and played with dignified tempo, clear line and a sense o( enjoying what she was playing. The cantata. Freue dieh, eri;;Slc Schaar, No. 30, in honor of St. John the Baptist, whose festival is June 24, was carefully and dearly presented. Of particular beauty were the alto aria and the chorale, FTeu die1. sehr, at the J. S. BACH _ MOTETS FOR MIXED VOICES New Urtext Edition (German/English) by Werner Neumann and Walter E. Buszin continuo realization by Fritz Oberdoerffer instrumental parts edited by Hugh Ross MOTET I: Sing ye to the Lord a new song (Singet dem Herrn ein neues Lied) Vocal Score (P6101) $1.50 Set 01 Instrumental Parts $7.50 MOTET II: The Spirit also helpeth us (Der Geist hilll unsrer Schwachheit oul) Vocal Score (P6102) $.90 Set 01 Instrumental Parts $7.50 Maryland Hospitality at lunch, St. Alban's Church, Glen Burnie, Maryland MOTET III: Jesus, my great pleasure (Jesu, meine Freude) Vocal Score (P6103) $.90 Set 01 Instrumental Parts $9.00 tion or Dudley Buck's Grand Triumphal ga\'e an excellent presentation o( its MOTET IV: 8e not afraid (FUrchte dich nlcht) March in D, which showed there was tonal capabilities uuough Bach's Fugue Vocal Score (P6104) $.90 still life in the old works. in E minor (Wedge), two movements The next trip took us to Glen Burnie from Coupcrin's Mass lor the Convents Set of Instrumental Ports $7.50 and St. Alban's Episcopal Church, and Reger's Toccata. It is indeed a MOTET V: Come, Jesus, come (Komm, Jesu, komm) whidl has a one lIlanual and pedal \'cry brilliant organ with prominent Vocal Scare (P6105) $.90 organ by Gebrlidcr Spaeth, 1961, wiul reed tone. Set 01 Inslrumental Parts $7.50 a beautiful mahogany case and silver I wish [ could have stayed for the SlOpS. The Communion Sen'ice, except aftcrnoon and evcning evcnts. From MOTET VI: Praise the Lord, all ye nations (Lobet den Herrn, aile (or one hymn and the Mcrbecke reports I ha\'c received, the concert at Heiden) Sanctlu, used entirely 20th century St. Joseph's Church, Taneytown, an all­ Vocal Score (P6106) $.75 music. Composers represented were Bach program by Donald King, organist, Set 01 Instrumental Ports $5.00 Clokey, Clndlyn, N),stcut, Moscr, Bend­ and Mrs. King, vocalist, was charming. er, Bouman, Krctzschmar, Markwonh The organ is a G.P. England (1804), The instrumentation is: MOTETS I, II, IV, V: 2 Violins, Viola, Violoncello, and Paters. The modem hymns were rcbuilt by Niemann in IBi5 and rc­ Double Ba55, 2 Oboes, English Horn, Ba55oon, Cembalo; MOTET III: Anisi (Smith), St Ke1/erne (Lang), and novated again in 1966. Then a program Ora Labom (Noblc). Thomas Eader, at (or organ and recorder was given at 3 Violins, Viola, Violoncello, Double Bass, 3 Oboes, English Horn, the organ, showed how very e((ective Thomas Eader's home in Ellicott City 8a55oon, Cembalo; MOTET VI: 2 Violins, Viola, Violoncello, Double a smaH but dear and bright-toned (tbe organ is an 1808 Diefrenbach); 8055 (or: 2 Oboes, English Horn, 8assoon), Cembalo. organ can be. Of panicular beauty alter tins a program at Old Salem wcre the five short chorale preludes, Lutheran Church, Catonsville. (1849), In all Motets, an alternate Bassoon part is supplied, to replace the all (rom The Parisi, Orgarlist, that he on an 1850 one-manual and pedal English Horn if not available. played during thc Distribution. organ. The sumptuous luncheon prepared After the closing dinner at Hausner's, C. F. PETERS CORPORATION (or us at St. Alban's was a true cxamplc the £inal evcnt was a Candle Light 373 PARK AVENUE SOUTH NEW YORK, N. Y. 10016 of Maryland hospitality, and thc oc­ Conccrt at the Carroll Mansion (18J2). casion was made even more (esth'c by The organ is a Richard Ferris, ca. 1845. the "um'eHing" of an organ built by the piano by joseph Hishey, co. ~841. jamcs F. Akright in 1962. It is a gem, and the clavichord my Robert Romoser, both visual and tonall Stopped Diapa­ 1956, The program was devotcd to son 8', Flute 4', Bclls, Regal 8' (missing "Music in the Home" by Bach, at present), Sharp Mixture and Fif­ Mcndelssohn, Bayly, Himmel, Clifton tccnth 2'. Evcf}'one had to try it, which and Pleyel.
Load more

Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • Dir So, Trobar Vers, Entendre Razo. Poetry and Music in Medieval Romance Lyric*
    Philomusica on-line 16 (2017) Dir so, trobar vers, entendre razo. Poetry and music in medieval Romance lyric* Maria Sofia Lannuti Università degli Studi di Pavia-Cremona [email protected] § Fino a che punto, nella lirica romanza § To what extent, in medieval del medioevo, l’idea di un’originaria Romance lyric, is the idea of an simbiosi tra parola e musica è original symbiosis between word and storicamente fondata? Prendendo in music historically grounded? Taking considerazione documenti e testi into account medieval documents letterari e non, il saggio intende and texts, both literary and non- sostenere l’ipotesi che un aspetto literary, this essay explores the fondamentale del rapporto tra poesia e interpretive hypothesis that one musica sia rimasto invariato dalle fundamental aspect of the relation- origini della lirica romanza fino alla fine ship between poetry and music del Trecento: l’indipendenza delle due remained unchanged from the forme d’arte nel processo creativo, e origins of Romance lyric through to conseguentemente il prevalere di una the end of the fourteenth century: the divisione delle competenze e dei ruoli independence of the two forms of art tra poeti e musicisti. in the creative process, and conse- quently the prevalence of a division of competence and role between poets and musicians. «Philomusica on-line» – Rivista del Dipartimento di Musicologia e beni culturali e-mail: [email protected] – Università degli Studi di Pavia <http://philomusica.unipv.it> – ISSN 1826-9001 – Copyright © 2017 by the Authors Philomusica on-line 16 (2017) Tacea la notte placida e bella in ciel sereno la luna il viso argenteo mostrava lieto e pieno..
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
    Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective.
    [Show full text]
  • Views, However the Hamburg Council Refused to Release Him from His Obligations
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • Edward Tarr Brass Ensemble in 1969 (In Formations from 5 to 15 Musicians) and the Duo (With Irmtraud Krueger, Organ) in 1980
    Edward Biography Tarr Biography Edward H. Tarr is a native of Connecticut (USA) and a pupil of two of the most respected orchestral trumpeters: Roger Voisin and Adolph Herseth (Boston and Chicago Symphony Orchestras). His interest in the - at that time - more obscure reaches of the trumpet repertoire led Tarr to start researching whilst studying in the USA, and he continued and intensified his research after moving to Europe in 1959 to study musicology: (University of Basel with Prof. Leo Schrade; Ph.D. degree from University of Hamburg, 1986.) Edward H. Tarr is a pioneer in the reintroduction of historical brass instruments, and has made countless recordings and performances on natural trumpet and cornett, whilst not neglecting the modern instrument. He has toured the world, has been adviser to several musical instrument manufacturers (R. Egger in Basel and Yamaha) and has produced scholarly editions of the most important trumpet concerti. Activities in the world of musical education included teaching historical trumpet and cornett at the Schola Cantorum Basiliensis (from where he retired in 2001) and modern trumpet at the Basel Conservatory, as well as guest professorships and master classes in Stockholm, Oslo, Copenhagen, Helsinki, Melbourne, Sydney, Stanford, Los Angeles, Tallahassee, Lucerne, and Vaduz. He is also a much sought-after juror at major international competitions. Dr Tarr has been director of the Bad Saeckingen Trumpet Museum since its inception in 1985. He founded the Edward Tarr Brass Ensemble in 1969 (in formations from 5 to 15 musicians) and The Duo (with Irmtraud Krueger, organ) in 1980. For Naxos, Edward Tarr conducted the Wasa Baroque Ensemble and soloists on Vol.
    [Show full text]
  • Download (15MB)
    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC.
    [Show full text]
  • Sachgebiete Im Überblick 513
    Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund­ artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis­ mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver­ Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car­ Drei Einheiten · Dumb show · Einakter · Epitasis · Erre­ men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge­ terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge­ · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko­ Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus
    [Show full text]
  • Refrain, Again: the Return of the Villanelle
    Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
    [Show full text]
  • Russian Trumpet Music •Fi an Analysis of Concerti by Oskar
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Russian Trumpet Music an Analysis of Concerti by Oskar Böhme, Eino Tamberg, and Sergeï Wassilenko William J. Takacs Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC RUSSIAN TRUMPET MUSIC – AN ANALYSIS OF CONCERTI BY OSKAR BÖHME, EINO TAMBERG, AND SERGEÏ WASSILENKO By WILLIAM J. TAKACS A Treatise submitted to the Department of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2003 The members of the Committee approve the treatise of William J. Takacs defended on May 28, 2003. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ James Croft Outside Committee Member __________________________________ John Drew Committee Member __________________________________ Michelle Stebleton Outside Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS The author would like to acknowledge several individuals for their direct and/or indirect support lent to the completion of this project. Thanks go to my parents and my brother for always supporting and encouraging my endeavors in music. I would also like to thank Edward Carroll, Vince DiMartino, and Edward Tarr for their assistance and input on this project. Special thanks go to Dr. Amy Gilreath, Trumpet Professor at Illinois State University and Dr. Bruce Briney, Trumpet Professor at Western Illinois University, who took the time to provide me with copies of their own dissertations, which helped me to gather even more information on my topic.
    [Show full text]