January 1945) James Francis Cooke
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Transposition Tutorial 1
Transposition Tutorial 1 Open the transposition menu by clicking the radio button Defaults menus: 1st dropdown menu: To the following key; 2nd dropdown menu: C Major / A minor; Up and All Staves. Transposing by key: From the 2nd dropdown menu showing C Major/A minor, select a key and then choose Up or Down depending on the key. Up or Down indicates direction of the transposition. For best results, when transposing by key choose the direction which results in the smallest interval of change. Click OK to complete the transposition. To return to the original key, click Reload. Transpositions cannot be saved. Closing the selection or the viewer will automatically reset to the original key. Transposing for an instrument: From the 1st dropdown menu select: For a transposing instrument. From the 2nd dropdown menu, now showing Soprano Saxophone select your instrument. If your music is a Piano Vocal sheet, you may want to transpose only the melody by selecting Staff Number(s)1 through 1. You will transpose only the melody for the instrument you choose and the piano will remain in its correct key. Transposition Tutorial 2 Transposing for an Instrument (continued): Once you have transposed the melody line for a specific instrument you may choose to change the octave of just the melody line. For example, Tenor Saxophone transposes up an octave and a 2nd, and the resulting transposition may be too high for the instrument. From the 1st dropdown menu, select By Interval. From the 2nd dropdown menu now showing Minor Second, select Perfect Octave. Select the Down button and to transpose only the melody line select Staff Number(s) (Staff number 1 though 1 is the melody line). -
Billboard 1978-05-27
031ÿJÚcö7lliloi335U7d SPOTLIG B DALY 50 GRE.SG>=NT T HARTFJKJ CT UolOo 08120 NEWSPAPER i $1.95 A Billboard Publication The International Music -Record -Tape Newsweekly May 27, 1978 (U.S.) Japanese Production Tax Credit 13 N.Y. DEALERS HIT On Returns Fania In Court i In Strong Comeback 3y HARUHIKO FUKUHARA Stretched? TOKYO -March figures for By MILDRED HALL To Fight Piracy record and tape production in Japan WASHINGTON -The House NBC Opting underscore an accelerating pace of Ways and Means Committee has re- By AGUSTIN GURZA industry recovery after last year's ported out a bill to permit a record LOS ANGELES -In one of the die appointing results. manufacturer to exclude from tax- `AUDIO VIDISK' most militant actions taken by a Disks scored a 16% increase in able gross income the amount at- For TRAC 7 record label against the sale of pi- quantity and a 20% increase in value tributable to record returns made NOW EMERGES By DOUG HALL rated product at the retail level, over last year's March figures. And within 41/2 months after the close of By STEPHEN TRAIMAN Fania Records filed suit Wednesday NEW YORK -What has been tales exceeded those figures with a his taxable year. NEW YORK -Long anticipated, (17) in New York State Supreme held to be the radio industry's main 5S% quantity increase and a 39% Under present law, sellers of cer- is the the "audio videodisk" at point Court against 13 New York area re- hope against total dominance of rat- value increase, reports the Japan tain merchandise -recordings, pa- of test marketing. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
The Delius Society Journal Autumn 1999, Number 126
Delius Journal 126.qxd 15-Nov-99 17:44 Page 1 The Delius Society Journal Autumn 1999, Number 126 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £15 per year (£20 from 1 April 2000) UK students: £10 (unchanged after 1 April 2000) USA and Canada US$31 per year (US$38 from 1 April 2000) Africa, Australasia and Far East £18 per year (£23 from 1 April 2000) President Felix Aprahamian Vice Presidents Roland Gibson MSc, PhD (Founder Member) Lionel Carley BA, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon Handley MA, FRCM, D Univ (Surrey) Richard Hickox FRCO (CHM) Rodney Meadows Robert Threlfall Chairman Lyndon Jenkins Treasurer and Membership Secretary Derek Cox Mercers, 6 Mount Pleasant, Blockley, Glos GL56 9BU Tel: (01386) 700175 Secretary Anthony Lindsey 1 The Pound, Aldwick Village, West Sussex PO21 3SR Tel: (01243) 824964 Delius Journal 126.qxd 15-Nov-99 17:44 Page 2 Editor Roger Buckley 57A Wimpole Street, London W1M 7DF (Mail should be marked ‘The Delius Society’) Tel: (0171) 935 4241 Fax: (0171) 935 5429 email: [email protected] Assistant Editor Jane Armour-Chélu 17 Forest Close, Shawbirch, Telford, Shropshire TF5 0LA Tel: (01952) 408726 email: [email protected] Website: http://www.delius.org.uk email: [email protected] ISSN-0306-0373 Delius Journal 126.qxd 15-Nov-99 17:44 Page 3 CONTENTS Chairman’s Message........................................................................................... 5 Editorial............................................................................................................... -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Reed Instruments About Reeds
Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb. -
Arranging Project F2018
Week 7 Arranging Project: Guidelines and Rubric Real-World Application: Your uncle is getting married and, having learned that you are now a music student, decides that you should arrange his favorite song (Billy Joel’s “Piano Man”) for his church string quartet. How do we go about the process of arranging a pop song for a classical ensemble? I. Dates and Times POD meetings: Monday 10/1–Thursday 10/4 (4 days), 8:00–8:50, location of your choice Presentation: Friday 10/5, 8:00–8:50: room 238 (21616), room 123 (21613) II. Project Description. Brief Description: As a POD, choose a pop song,1 transcribe it, then arrange it for an ensemble of your choosing. Play your arrangement on Friday, and talk about why you made the choices you did. Step-by-Step instructions: 1. Bring in a song. Each person of the POD comes in first thing Monday morning with an idea of a song they’d like to arrange. Be able to play these for each other, and convince your POD why they should choose yours. Decide among your POD which of the four pieces to work on (suggested completion=Monday). 2. Working together,2 transcribe the song. See below for a list of the four functional layers of most pieces of music. At minimum, you must transcribe your song’s a) the primary melodic layer and b) the functional bass layer. You must also transcribe the harmonic filler layer using your choice of: c) chord symbols,3 roman numerals, or figured bass; or d) the actual instrument parts. -
Rāga Recognition Based on Pitch Distribution Methods
Rāga Recognition based on Pitch Distribution Methods Gopala K. Koduria, Sankalp Gulatia, Preeti Raob, Xavier Serraa aMusic Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. bDepartment of Electrical Engg., Indian Institute of Technology Bombay, Mumbai, India. Abstract Rāga forms the melodic framework for most of the music of the Indian subcontinent. us automatic rāga recognition is a fundamental step in the computational modeling of the Indian art-music traditions. In this work, we investigate the properties of rāga and the natural processes by which people identify it. We bring together and discuss the previous computational approaches to rāga recognition correlating them with human techniques, in both Karṇāṭak (south Indian) and Hindustānī (north Indian) music traditions. e approaches which are based on first-order pitch distributions are further evaluated on a large com- prehensive dataset to understand their merits and limitations. We outline the possible short and mid-term future directions in this line of work. Keywords: Indian art music, Rāga recognition, Pitch-distribution analysis 1. Introduction ere are two prominent art-music traditions in the Indian subcontinent: Karṇāṭak in the Indian peninsular and Hindustānī in north India, Pakistan and Bangladesh. Both are orally transmied from one generation to another, and are heterophonic in nature (Viswanathan & Allen (2004)). Rāga and tāla are their fundamental melodic and rhythmic frameworks respectively. However, there are ample differ- ences between the two traditions in their conceptualization (See (Narmada (2001)) for a comparative study of rāgas). ere is an abundance of musicological resources that thoroughly discuss the melodic and rhythmic concepts (Viswanathan & Allen (2004); Clayton (2000); Sambamoorthy (1998); Bagchee (1998)). -
Pitch Bending and Glissandi on the Clarinet: Roles of the Vocal Tract and Partial Tone Hole Closure
Pitch bending and glissandi on the clarinet: Roles of the vocal tract and partial tone hole closure ͒ Jer-Ming Chen,a John Smith, and Joe Wolfe School of Physics, The University of New South Wales, Sydney, New South Wales 2052, Australia ͑Received 9 March 2009; revised 15 June 2009; accepted 17 June 2009͒ Clarinettists combine non-standard fingerings with particular vocal tract configurations to achieve pitch bending, i.e., sounding pitches that can deviate substantially from those of standard fingerings. Impedance spectra were measured in the mouth of expert clarinettists while they played normally and during pitch bending, using a measurement head incorporated within a functioning clarinet mouthpiece. These were compared with the input impedance spectra of the clarinet for the fingerings used. Partially uncovering a tone hole by sliding a finger raises the frequency of clarinet impedance peaks, thereby allowing smooth increases in sounding pitch over some of the range. To bend notes in the second register and higher, however, clarinettists produce vocal tract resonances whose impedance maxima have magnitudes comparable with those of the bore resonance, which then may influence or determine the sounding frequency. It is much easier to bend notes down than up because of the phase relations of the bore and tract resonances, and the compliance of the reed. Expert clarinettists performed the glissando opening of Gershwin’s Rhapsody in Blue. Here, players coordinate the two effects: They slide their fingers gradually over open tone holes, while simultaneously adjusting a strong vocal tract resonance to the desired pitch. © 2009 Acoustical Society of America. ͓DOI: 10.1121/1.3177269͔ PACS number͑s͒: 43.75.Pq, 43.75.St ͓NHF͔ Pages: 1511–1520 I. -
Mario Cozzi Joseph Regneas
CARMELLA PONSELLE AMRI GALLI -CAMPI FRANKLYN BAUR DENNIS NOBLE MARIO COZZI Mario Cozzi's parents took him as a boy from Florence, Italy, to the United States. He became well -known in New York musical circles as assistant to Gatti -Casazza, and made his first appearance as a baritone in several sound films with Grace Moore and Lawrence Tibbett. After launching his operatic career in Italy, he returned to New York in 1933. Since then he has been heard fre- quently on the concert stage and over Station WJZ. Cozzi has achieved nation -wide popularity in a number of outstanding broadcasts, including the John Hancock program, the Continental Varieties and his own solo spot on NBC, in addition to his brilliant performances as star of the Mollé show. He has been a favorite guest star on the National networks for Bab -O, RCA -Victor, the Chase and Sanborn operas and the Radio City Party, also on the JOSEPH REGNEAS Columbia chain for Chevrolet. MARIO COZZI DENNIS NOBLE CARMELLA PONSFT.i.E When Dennis Noble of Bristol, England, was wounded Carmella Ponselle was born in Schenectady and studied while serving with the Royal Air Force, he was trans- music under private tutors. She made her début at the ferred to the entertainment staff as baritone. After the Metropolitan in 1926 as Amneris in "Aida," and later ap- war he was appointed a member of the Westminster peared in "Norma" and "La Gioconda." Abbey choir. Studies in Italy, France and England were Miss Ponselle has concertized throughout the United followed by eleven consecutive seasons at Covent Garden States. -
July 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . ! i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan Opera any operatic stage when she sang the TO Bass, and Robert Law- title role in “Carmen” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in Italy, fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers. -
JOHN IRELAND 70Th Birthday Concert
JOHN IRELAND 70th Birthday ConCert Sir ADRIAN BOULT conductor EILEEN JOYCE piano LONDON PHILHARMONIC ORCHESTRA JOHN IRELAND 70th Birthday ConCert The Henry Wood Promenade Concerts were BBC Symphony Orchestra’s Chief Conductor, inaugurated in 1895 in London’s principal the move from one rostrum to another was concert venue, Queen’s Hall. Following the effected with great smoothness: “I was only hall’s destruction during World War II, the out of work for two or three days,” he liked to BBC Promenade concerts have continued say. For Ireland’s birthday concert he was the ever since at the Royal Albert Hall. The annual ideal choice. Boult’s wide embrace of English summer season is in effect a huge music music had long included Ireland’s music: he festival, drawing the greatest artists and had premièred These things shall be in his BBC orchestras from all over the world. In the days, and in 1936 encouraged the composer to years after the 1939–45 war it became quite turn his Comedy Overture, originally composed usual to celebrate composers’ anniversaries, for brass band, into A London Overture, so sometimes devoting a concert entirely to giving it a wider and more popular following. their music. The concert recorded on this CD, Ireland had a great love of London, revealed in given on 10 September 1949 to mark John such cameos as his picturesque London Pieces Ireland’s 70th birthday, was conducted by Sir for piano with their nostalgic titles ‘Chelsea Adrian Boult (1889–1983). Boult described Reach’ and ‘Soho Forenoons’. A London Overture the composer