DOCSLIB.ORG

J a N U a R Y 2 0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

january 2003 Published by the American Recorder Society, Vol. XLIV, No. 1 Vol. American Recorder Society, by the Published sheet music www.moeck-music.de recorders early music flauto penta modern music flauto 1 folk&pop flauto 1 plus methods/tutors worls school recorders books flauto rondo rottenburgh modern music steenbergen music cartoons stanesby periodicals hotteterre tibia. magazin für holzbläser kynseker zfs recorders music series renaissance-consort cds breukink walter van hauwe renaissance jeremias schwarzer krummhorn trio diritto cornamuse dulcian shawm shalmei flute cornetti baroque flute oboe rackett chalumeau sopran clarinet Sole agent for the USA: Tel: 1-860-364-5431 Magnamusic Distributors Inc., Fax: 1-860-364-5168 P.O. Box 338, [email protected] Sharon, CT 06069 www.magnamusic.com EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number 1 January 2003 Last year was a year when it seemed that FEATURES many eyes were on the United Kingdom as THE AGE OF CONSORTS...?. 6 Queen Elizabeth II celebrated her Golden An iconographic conundrum is examined Jubilee in June 2002. Anglophiles on this by Anthony Rowland-Jones side of the Atlantic and those just wanting Music at the English Court (1509-1642) . 10 to observe the festivities followed the fêtes, A recorder concert with historical notes or at least watched with interest as PBS 4 by Constance M. Primus documentaries chronicled her years. Birth of a Song . 14 One newspaper article described “We’re ARS,” a newly-composed song for Play-the-Recorder Day Britain’s “main cultural ambassador” dur- by Carolyn Peskin ing the 50-year reign of this Queen Eliza- beth as “rock ‘n’ roll.” Not so in years past, as outlined in this DEPARTMENTS issue by two frequent contributors to Advertiser Index . 36 American Recorder. The Queen’s own sub- 10 ject Anthony Rowland-Jones examines the Book Reviews . 17 subject of 16th-century recorder consort Chapters & Consorts . 18 playing as illustrated by the iconography of that period (page 6), asking as many in- Classified . 36 triguing questions as he answers in his es- Compact Disc Reviews . 34 say. Music heard by a past Elizabeth and Music Reviews. 22 other British royalty in the 16th and 17th centuries is outlined, with a list of music Poem . 21 18 for you to play in the present, by Connie President’s Message . 3 Primus (page 10)—just in time to help you put together a program for Play-the- Tidings . 4 ON THE COVER: Happy Birthday, Belladonna; REBEL set to play at BEMF; Recorder Month. Detail: Music for royalty is also represented in King René copying review of Dutch Recorder Orchestra Praetorius’s concert; this month’s music reviews (page 22), the psalms which contain music for all levels from ©Bibliothèque Intel commercial shows recorder children to advanced recorder de l’Arsenal, Paris players—more Play-the-Recorder Month options to consider. Looking for something more modern to play during Play-the-Recorder Month in GAIL NICKLESS, Editor March? A new piece by Carolyn Peskin, Contributing Editors another name not unfamiliar to American FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews Recorder readers, appears in this issue. CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews “We’re ARS” was specially composed for EUGENE REICHENTHAL, Education; THOMAS CIRTIN, Compact Disc Reviews all members to play on a worldwide Play- TIMOTHY BROEGE, 20th-Century Performance; LISA SCHMIDT, Design Consultant the-Recorder Day set for March 8. Carolyn Advisory Board also gives insight into how she approached Martha Bixler • Valerie Horst • David Lasocki the challenge of writing the words and mu- Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy sic for this jazzy, original piece. Kenneth Wollitz Whether you decide on a program fit Copyright © 2003 American Recorder Society, Inc. for a king (or queen) for Play-the-Recorder AR On-Line Month, or mark March 8 by having your Visit at <www.recorderonline.org> American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a own private audience listen to you play subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word “We’re ARS,” have a royal time. That’s for Windows, or RTF preferred) or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts what it’s all about anyway: having fun play- embedded. Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax); ing the recorder! <[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorial office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976 (fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 Gail Nickless (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Janice Williams Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-870-7443) West Suburban: Christopher Culp New York City: Michael Zumoff ARIZONA (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) RECORDER Tucson: Scott Mason (520-721-0846) Baton Rouge: John Waite Rockland: Lorraine Schiller (225-925-0502) (845-429-8340) ARKANSAS SOCIETY New Orleans: Chris Alderman Westchester: Carol B. Leibman Aeolus Konsort: Don Wold INC (504-862-0969) (914-241-3381) . (501-666-2787) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA ERICH KATZ (1900-1973) (501-855-6477) Northern Maryland: Tanya Torres Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-821-8678) (919-851-1080) WINIFRED JAEGER Central Coast: MASSACHUSETTS OHIO East Bay: Glen Shannon Statement of Purpose (510-525-1249) Boston: Laura Conrad (617-661-8097) Greater Cleveland: Edith Yerger The mission of the American Recorder Society is Monterey Bay: Sandy Ferguson BRS-West: (Boston); Sheila Beardslee (440-826-0716) to promote the recorder and its music by (831-462-0286) (978-263-9926) Toledo: Marilyn Perlmutter developing resources and standards to help North Coast: Kathleen Kinkela-Love Worcester Hills: Jennifer Southcott (419-531-6259) (707-822-8835) people of all ages and ability levels to play and (978-263-5875) Orange County: Doris Leffingwell OREGON study the recorder, presenting the instrument (949-494-9675) MICHIGAN Oregon Coast: Corlu Collier to new constituencies, encouraging increased Sacramento: Robert Foster Ann Arbor: Bill White (541-265-5910) career opportunities for professional recorder (916-391-7520) or (734-668-7120) PENNSYLVANIA performers and teachers, and enabling and Elsa Morrison (916-929-6001) Kalamazoo: Chris Bartley supporting recorder playing as a shared San Diego County: Richard Chang Philadelphia: Dody Magaziner (616-341-4590) (215-886-2241) or social experience. Besides this journal, (760-726-8699) San Francisco: Florence Kress Metropolitan Detroit: Claudia Joanne Ford (215-844-8054) ARS publishes a newsletter, a personal study (415-731-9709) Novitzsky (248-548-5668) Pittsburgh: He;en Thornton program, a directory, and special musical South Bay: Joanna Woodrow Western Michigan: Marge Winter (412-781-6321) editions. Society members gather and play (408-266-3993) (231-744-1703) together at chapter meetings, weekend and Southern California: Lynne Snead RHODE ISLAND summer workshops, and many ARS-sponsored (661-254-7922) MINNESOTA Rhode Island: David Bojar (401-944-3395) events throughout the year. In 2000, the COLORADO Twin Cities: Jean Fagerstrom (612-722-4967) Society entered its seventh decade of Boulder: Rose Marie Terada TENNESSEE service to its constituents. (303-666-4307) MISSOURI Greater Knoxville: Ann Stierli Colorado Springs: Richard Bradley St. Louis: Bruce Petersmeyer (865-637-6179) Board of Directors (719-633-5683) (314-631-7962) Nashville: Janet Epstein Denver: Keith Emerson Alan Karass, President; Chair, Fund-raising (615-297-2546) Carolyn Peskin, Vice President; (303-750-8460) NEVADA Chair, Scholarship; Co-Chair, Education Fort Collins: Roselyn Dailey Sierra Early Music Society: TEXAS (970-282-1097) Marilyn Perlmutter, Secretary Karlene Dickey (775-832-9124) Austin: Susan Page (512-467-7520) Ann Stickney, Treasurer; Chair,
Recommended publications
  • June 2015 Broadside

    June 2015 Broadside

    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
  • WORKSHOP: Around the World in 30 Instruments Educator’S Guide Fourshillingsshort@Gmail.Com

    WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]

    WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
  • Early Fifteenth Century

    Early Fifteenth Century

    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland

    WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland

    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong

    An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
  • BH Program FINAL

    BH Program FINAL

    MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council.
  • Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble

    Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
  • Lutkovno-Glasbena Predstava Puppet – Musical Fairytale

    Lutkovno-Glasbena Predstava Puppet – Musical Fairytale

    Lutkovno-glasbena predstava puppet – musical fairytale Conceived, directed and music by Peter Kus Text and dramaturgy by Ajda Rooss (inspired by short stories by Sergei Kozlov) Set and graphic design by Kaja Avberšek Original musical instruments by Peter Kus, Darko Korošec Costumes by Iztok Hrga Light design by Borut Bučinel Puppets made by Silvo Metelko, Ana Kravanja, Kaja Avberšek Stage set made by Rajko Miladić, Adolf Košmrl, Peter Kus, Jurij Kus Performed by Andrea Giordani (alt. Marina Bažulić), Bruno Kontrec, Yaniv Shentser (alt. Gregor Horvat), Ivan Štrok Produced by Glej Teatre and Children’s Teatre Dubrava Coproduced by Federacija Contact: Zavod Federacija Ljubljana, Mr. Peter Kus m/+ 386 41 657860 e/ [email protected] w/ http://peterkus.net/projects/forest-of-songs/ For children over 4 years of age. Duration is 42 minutes. !2 PRESS REVIEWS: »... the show is a real play of music, art and youthful performer’s charm and therefore has to be watched and listened carefully. Tis is a magic of theatre art.« Mira Muhoberac, Vijenac (Croatia) »...Exceptional art design and beautiful sound, combined with top artistry, take us away from the usual and demand active effort of watching the show from the young audience. However, at the end this is rewarded by the joy of understanding and satisfaction of experiencing.” Iva Gruić, www.kazaliste.hr (Croatia) FESTIVALS AND AWARDS: • Špancirfest 2015, Varaždin (Croatia) • Luaga und Losna 2015, Feldkirch (Austria) • Kotor Festival of Children’s Teater, 2015, Kotor (Montenegro) • Fantasima 2015, Lienz, Austria • Cikl Cakl, 2013, Bleiburg (Austria) • 24th SKUP Festival, Osijek (Croatia) – award for innovation in puppetry • 20th International Festival of Children’s Teatres, Subotica (Serbia) – best music • 15th Assitej Croatia Meeting, Čakovec (Croatia) – best set and musical instruments design, best music and best light design !3 SHORT INTRODUCTION The author of the performance Peter Kus is a musician who lately devoted himself to the experimental side of puppetry especially its convergence with music.
  • September 2007 Published by the American Recorder Society, Vol

    September 2007 Published by the American Recorder Society, Vol

    september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
  • Over the Moon

    Over the Moon

    CHANTICLEER OVER THE MOON Nate Pence, Kory Reid, Darita Seth – soprano Cortez Mitchell, Alan Reinhardt, Adam Ward – alto Michael Bresnahan, Brian Hinman, Blake Morgan– tenor Eric Alatorre, Matthew Knickman, Marques Jerrell Ruff – baritone and bass William Fred Scott, Music Director I. My Spirit Sang All Day Gerald Finzi (1901 - 1956) S’andasse Amor a caccia Claudio Monteverdi (1567 - 1643) There is Sweet Music, op. 53, no.1 Edward Elgar (1857 - 1934) Ecco mormorar l’onde* Monteverdi II. Conditor alme siderum Orlando di Lasso (c. 1532 - 1594) Gaude, caelestis domina Antoine Busnois (c. 1430 - 1492) Ave Maria* Robert Parsons (c. 1535 - 1572) Benedicta es, caelorum Regina Josquin Desprez (c. 1450 - 1521) III. Three Moon Songs Nico Muhly (b. l981) Poetry from Albert Giraud’s “Pierrot Lunaire” Harlequin Moondrunk Solo: Marques Jerrell Ruff The Alphabet Solos: Nathanael Pence, Adam Ward Commissioned for Chanticleer in 2015 by Sarah Billinghurst Solomon in honor of Howard Solomon IV. Liebst du um Schönheit Gustav Mahler (1860-1911), arr. Joseph Jennings Solo: Cortez Mitchell Ich bin der Welt abhanden gekommen* Mahler, arr. Clytus Gottwald --- INTERMISSION --- V. The tide rises, the tide falls Jaakko Mäntyjärvi (b. l963) Observer in the Magellanic Cloud* Mason Bates (b. 1977) Commissioned by Chanticleer in 2009 VI. From "The Lotus Lovers" Stephen Paulus (1949-2014) Poetry by Tzu Yeh A Rich Brocade Late Spring All Night Illusions Commissioned for Chanticleer in 2010 by Mary Rodgers and Henry Guettel VII. To be selected from… Molihua* Trad. Chinese, arr. Chen Yi Mirrorball* Elbow/Guy Garvey, arr. Peter Eldridge Solo: Adam Ward Moon River Henry Mancini, arr.
  • Chapter 9 5, Or 7, by Reading Clefs and Adding Accidentals to Avoid Franco-Flemish Composers, 1450-1520 the Tritone

    Chapter 9 5, Or 7, by Reading Clefs and Adding Accidentals to Avoid Franco-Flemish Composers, 1450-1520 the Tritone

    17 10. Briefly explain the principal of Missa cuiusvis toni. It's a mass in any mode, so it can be transposed to mode 1, 3, Chapter 9 5, or 7, by reading clefs and adding accidentals to avoid Franco-Flemish Composers, 1450-1520 the tritone 1. [190] What was the style for composers born around 11. Ockeghem's Missa __________ is a double mensuration 1420? (old and new) 1470? (late) canon. Old: formes fixes, cantus firmus works Prolationem New: wider ranges, equality between voices, more imitation Late: end of formes fixes, imitative and homophonic textures, 12. (194) Any questions about the notation and word painting transcription? What are the different procedures of canon? 2. Composers/musicians still depended on _________. Inversion, retrograde England became ________. (189) The rest of Europe (especially the map legend), by marriage or war, was 13. (195) SR: What is a lament? divided into three large areas: Remembrance, eulogy Patrons; insular; Spain, France, Holy Roman Empire 14. What are two important Ockeghem traits? (Germany) Note: It's important to know history, but for Long phrases; elided or overlapping cadences our purposes this section is enough. It gives us a sense of what is going on (and there's a lot of it). 15. (196) Who are the composers of the next generation? Jacob Obrecht (1457-1505), Henricus [Heinrich] Isaac 3. (190) Name the two composers who follow Du Fay. TQ: (c. 1450-1517), Josquin Desprez (c. 1450-1521) [des Any thoughts about the variant spellings? TQ: How Prez in the 8th edition] about pronunciations? Johannes Ockeghem (c.1420-97) and Antoine Busnois 16.
  • Jamestown 100-11

    Jamestown 100-11

    Owners Manual RODG€RS COLUMbiAN . and 7-; Jamestown 100-11 PART #1905-212 RODGERS ORGAN COMPANY 1300 NE 24TH Avenue Hillsboro, Oregon 97124 o RODGERS COLUMBIA-75 RODGERS 'JAMESTOWN 100-11 The design of the Rodgers Organ is a skillful blend of space-age technology with the centuries-old art of organ building. From a compact and reliable solid-state console emanates a full ensemble of pure classic voices suited to the interpretation of traditional organ literature as well as service music of the contemporary church. Incorporated into its design are the elements necessary for practice and teaching, making the( Organ '-- also an ideal instrument for school or studio. Because this organ is capable of such a broad range of tonal color and flexibility, no attempt will be made to completely catalogue the many possible stop combinations available. It is hoped, however, that the registration suggestions and other information contained here will serve as a proper introduction to the musical resources of your new Rodgers Organ o An organ's sound is constructed by the various combinations of sounds of the families of tone found on the organ. The uniqueness of different sounds on an organ is the fact that they are found at different pitch levels (octaves). A stop that is engraved with an 8' sounds at the same pitch level as a piano. When you play middle "C" on the organ with an 8' stop on, you hear the same note as you would playing middle "C" on the piano. You will notice that other stops have 16',4', 2', 2-2/3', and 1-3/5' engraved on them.