The Finest Instrument Is the Mind
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Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution
Eurasian music science journal 2020 Number 2 2020/2 Article 11 12-31-2020 Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution Galiaskar Bigashev The state conservatory of Uzbekistan, [email protected] Follow this and additional works at: https://uzjournals.edu.uz/ea_music Part of the Music Performance Commons Recommended Citation Bigashev, Galiaskar (2020) "Sonatina for Cello and Piano by Zoltan Kodaly in the Light of Stile Evolution," Eurasian music science journal: 2020 : No. 2 , Article 11. DOI: doi.org/10.52847/EAMSJ/vol_2020_issue_2/A13 Available at: https://uzjournals.edu.uz/ea_music/vol2020/iss2/11 This Article is brought to you for free and open access by 2030 Uzbekistan Research Online. It has been accepted for inclusion in Eurasian music science journal by an authorized editor of 2030 Uzbekistan Research Online. For more information, please contact [email protected]. The works of Zoltan Kodai constantly attract the attention of listeners, performers and musicologists. Over time, we rethink his legacy, and in this process, the most valuable and artistically significant elements of the composer's work again convince us of the significance that Kodai's work has not only for Hungarian, but also for world musical culture. The master of Hungarian music has received widespread recognition as the creator of vocal, stage, choral works, as well as his pedagogical system, which significantly transformed the entire system of musical education in his homeland and was enthusiastically received by other countries. Such masterpieces as the opera "Hari Janos", symphonic "Dances from Galanta" and "Dances from Maroshsek", piano pieces, "Hungarian Psalm" became Kodai's trademark. -
Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES 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 Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
CLEMENTI: Piano Concerto • Two Symphonies, Op
NAXOS NAXOS These four works are among the few surviving examples of Muzio Clementi’s early orchestral music. The two Symphonies, Op. 18 follow Classical models but are full of the surprise modulations and dynamic contrasts to be found in his piano sonatas. The Piano Concerto has a dazzling solo part and some delightful orchestral touches. Clementi’s Symphonies Nos. 1-4 can be heard on Naxos 8.573071 and 8.573112. CLEMENTI: DDD CLEMENTI: Muzio 8.573273 CLEMENTI Playing Time (1752-1832) 58:19 Piano Concerto in C major, Op. 33, No. 3 21:19 7 1 Allegro con spirito 9:30 Piano Concerto • Two Symphonies, Op. 18 Two Piano Concerto • Symphonies, Op. 18 Two Piano Concerto • 2 Adagio cantabile, con grande espressione 5:27 4 7 3 Presto 6:22 3 1 3 4 Minuetto pastorale in D major, WO 36 3:57 3 2 7 Symphony in B fl at major, Op. 18, No. 1 (1787) 16:27 3 5 Allegro assai 4:57 7 6 Un poco adagio 4:37 7 Minuetto (Allegretto) and Trio 4:05 9 www.naxos.com ൿ 8 Allegro assai 2:48 Made in Germany Commento in italiano all’interno Booklet Notes in English & Symphony in D major, Op. 18, No. 2 (1787) 16:36 Ꭿ 9 Grave – Allegro assai 5:49 2014 Naxos Rights US, Inc. 0 Andante 3:12 ! Minuetto (Un poco allegro) and Trio 3:19 @ Allegro assai 4:15 Bruno Canino, Piano Orchestra Sinfonica di Roma Francesco La Vecchia Recorded at the Auditorium di Via Conciliazione, Rome, 28th-29th October 2012 (tracks 1-3) and at the OSR 8.573273 Studios, Rome, 27th-30th December 2012 (tracks 4-12) • Producer: Fondazione Arts Academy 8.573273 Engineer and Editor: Giuseppe Silvi • Music Assistant: Desirée Scuccuglia • Booklet notes: Tommaso Manera Release editor: Peter Bromley • Cover: Paolo Zeccara • Publishers / Editions: Editori s.r.l., Albano Laziale, Rome (tracks 1-3, edited by Pietro Spada); Suvini Zerboni, Milan (track 4); Johann André, Offenbach am Main / Public Domain (tracks 5-8); Jean-Jérôme Imbault, Paris / Public Domain (tracks 9-12) 88.573273.573273 rrrr CClementilementi • 3_EU.indd3_EU.indd 1 119/05/149/05/14 112:022:02. -
Johann Nepomuk Hummel's Transcriptions
JOHANN NEPOMUK HUMMEL´S TRANSCRIPTIONS OF BEETHOVEN´S SYMPHONY NO. 2, OP. 36: A COMPARISON OF THE SOLO PIANO AND THE PIANO QUARTET VERSIONS Aram Kim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2012 APPROVED: Pamela Mia Paul, Major Professor Clay Couturiaux, Minor Professor Gustavo Romero, Committee Member Steven Harlos, Chair, Division of Keyboard Studies John Murphy, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Kim, Aram. Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No. 2, Op. 36: A Comparison of the Solo Piano and the Piano Quartet Versions. Doctor of Musical Arts (Performance), August 2012, 30 pp., 2 figures, 13 musical examples, references, 19 titles. Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas Item Type text; Electronic Dissertation Authors Thomas , William Kullen Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:16:54 Link to Item http://hdl.handle.net/10150/642104 RHYTHMIC FREEDOM IN MENDELSSOHN’S SIX ORGAN SONATAS by William Kullen Thomas _____________________________ Copyright ©William Kullen Thomas 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by William Kullen Thomas, titled Rhythmic Freedom in Mendelssohn’s Six Organ Sonatas and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___ ____________________________________ Date: June 15, 2020 Professor Rex A. Woods ___ ______________________________________ Date: June 15, 2020 Dr. Jay Rosenblatt Date: June 15, 2020 Professor Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
University of California UNIVERSITY of CALIFORNIA
UCLA UCLA Electronic Theses and Dissertations Title Ukrainian Identity in Modern Chamber Music: A Performer's Perspective on Valentyn Silvestrov's Violin Sonata "Post Scriptum" and its Interpretation in the Context of Ukrainian Chamber Works. Permalink https://escholarship.org/uc/item/8874s0pn Author Khomik, Myroslava Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works A dissertation submitted in partial satisfaction Of the requirements for the degree Doctor of Musical Arts By Myroslava Khomik 2015 © Copyright by Myroslava Khomik 2015 ABSTRACT OF THE DISSERTATION Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works. by Myroslava Khomik Doctor of Musical Arts University of California, Los Angeles, 2015 Professor Movses Pogossian, Chair Ukrainian cultural expression has gone through many years of inertia due to decades of Soviet repression and censorship. In the post-Soviet period, since the late 80s and early 90s, a number of composers have explored new directions in creative styles thanks to new political and cultural freedoms. This study focuses on Valentyn Silvestrov’s unique Sonata for Violin and Piano “Post Scriptum” (1990), investigating its musical details and their meaning in its post- Soviet compositional context. The purpose is to contribute to a broader overview of Ukraine’s classical music tradition, especially as it relates to national identity and the ii current cultural and political state of the country. -
Contrasts International Contemporary Music Festival Lviv / 01-11.10.2015
musical art of the XXI century CONTRASTS INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL LVIV / 01-11.10.2015 01.10.2015 / Thursday 19:00 / S. Lyudkevych Concert Hall / MUSICAL PREMIERES OF 21ST CENTURY Academia Lviv Chamber Orchestra/UA Arthur Mykytka/UA, artistic manager & concert master / Myroslav Skoryk/UA, artistic director Gryphon Trio/CA: Annalee Patipatanakoon, violin Roman Borys, cello James Parker, piano Zhanna Masliak/UA, flute Zoia Khodan/UA, flute Ricardo Calderoni/BR, conductor Ihor Pylatiuk/UA, conductor Heitor Villa-Lobos/BR/1887-1959/ Aria from Bachianas Brasileiras No. 5 (1938/45)▲ Transcription for string orchestra by Myroslav Skoryk (1984) Edmundo Villani-Côrtes/BR/*1930/ Catedral da Sé for string orchestra (1955)▲ Ricardo Calderoni/BR Double Concerto for two flutes and orchestra (1980)▲ Claudio Santoro/BR/1919-1989/ Ponteio for string orchestra (1953)▲ Vladimir Genin/RU-DE/*1958/ Threnody for the Victims in Ukraine for strings (2014)** Vitaly Vyshynsky/UA/*1983/ Dodes’ka-den for string orchestra and percussion (2011)▲ Bohdana Frolyak/UA/*1968/ Music of Dreams for violin, cello, piano and string orchestra (2015)* * - world premiere ** - Ukrainian premiere ▲ - for the first time on Contrasts Performance of Gryphon Trio was made possible with support from the Ukrainian Canadian Foundation of Taras Shevchenko 02.10.2015 / Friday 11:00 / Art-café Kvartyra 35 Coffee with a composer: Alexander Shchetynsky/UA conversation on the theme: What is opera? moderator – Vitaly Vyshynskyi/UA 16:00 / Foyer of Lviv Philharmonic / Opening -
Composers and Publishers in Clementi's London
Open Research Online The Open University’s repository of research publications and other research outputs Composers and publishers in Clementi’s London Book Section How to cite: Rowland, David (2018). Composers and publishers in Clementi’s London. In: Golding, Rosemary ed. The Music Profession in Britain, 1780-1920: New Perspectives on Status and Identity. Music in Nineteenth-Century Britain. London and New York: Routledge, pp. 32–52. For guidance on citations see FAQs. c 2018 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Accepted Manuscript Link(s) to article on publisher’s website: https://www.taylorfrancis.com/books/e/9781351965750/chapters/10.4324%2F9781315265001-3 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk 1 Composers and publishers in Clementi’s London David Rowland (The Open University) Clementi was in London by April 1775 and from then until shortly before his death in March 1832 he was involved with the capital’s music publishing industry, first as a composer, but also from 1798 as a partner in one of Europe’s largest and most important music-publishing firms.1 During the course of his career London’s music-publishing industry boomed and composers responded by producing regular streams of works tailored to the needs of a growing musical market. At the same time copyright law began to be clarified as it related music, a circumstance which significantly affected the relationship between composers and publishers. -
Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style. -
The Musical Compositions for Unaccompanied Solo Tuba by Four
THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE (Under the Direction of DAVID ZERKEL) ABSTRACT The solo repertoire for tuba is characterized by its small size and lack of stylistic diversity. As with other instruments in Western Art music, a solution to this dearth of repertoire has involved the worked of performer-composers, virtuoso instrumentalists who have created new works for their instrument. This study examines the solo tuba compositions of four American performer-composers: Mike Forbes, Grant Harville, Benjamin Miles, and John Stevens. Each composer’s compositional style and approach is discussed, followed by a musical analysis of their music for tuba alone. As some of these compositions are already staples in the solo tuba repertoire, this study provides a resource to performers and teachers who will perform, study, or teach these compositions. Furthermore, composers and other performer-composers will benefit from the analysis of each performer-composer’s musical style. INDEX WORDS: Mike Forbes, Grant Harville, Benjamin Miles, John Stevens, Music, Tuba, Unaccompanied, Solo, Composer, Performer-Composer THE MUSICAL COMPOSITIONS FOR UNNACOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE BM, University of Southern California, 2009 MM, University of Michigan, 2011 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2014 © 2014 David McLemore All Rights Reserved THE MUSICAL COMPOSITIONS FOR UNACCOMPANIED SOLO TUBA BY FOUR AMERICAN PERFORMER-COMPOSERS by DAVID MCLEMORE Approved: Major Professor: DAVID ZERKEL Committee: ADRIAN CHILDS JEAN MARTIN-WILLIAMS Electronic Version Approved: Julie Coffield Interim Dean of the Graduate School The University of Georgia December 2014 TABLE OF CONTENTS Page LIST OF EXAMPLES .................................................................................................................. -
October 1893) Theodore Presser
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1893 Volume 11, Number 10 (October 1893) Theodore Presser Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Presser, Theodore. "Volume 11, Number 10 (October 1893)." , (1893). https://digitalcommons.gardner-webb.edu/etude/376 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]. FOR ANYTHING IN SHEET MUSIC, MUSIC BOOKS, OH MUSICAL MERCHANDISE, SEND TO THE PUBLISHER OP THE ETUDE PHILADELPHIA, PA., OCTOBER, 1893. NO. 10. John S. Dwight, the veteran musical critic and jour¬ The leader of the young Italian school of composers, THE ETUDE nalist, died, September 6th, in Boston. He was formerly Alfredo Catalini, died August 7th, at Milan. He had a owner and editor of Dwight's Journal of Music, and large host of admirers. was-connected with the leading mnsical movements in PHILADELPHIA, PA., OCTOBER, 1893. Boston. He filled a large apace in inusical affairs. It is proposed to present Verdi, on his 80th birthday, with an album containing the autographs of eminent Max Bendix is doing excellent work at the Exposition musicians throughout the world.