Baroque Period (1600—1750)
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Spotlight Classical Instrumental Rules
SPOTLIGHT CLASSICAL INSTRUMENTAL RULES WHAT’S REQUIRED OF ME FOR MY CLASSICAL INSTRUMENTAL PRELIMINARY 1 VIDEO AUDITION All students begin with a Preliminary 1 video audition. You will present one piece of music. Those scoring highest will advance to Preliminary 2 live auditions in December 2021. If you advance to Preliminary 2, you will be required to play two solo pieces. Those scoring highest after Preliminary 2 will advance to the Semifinals • For the Preliminary 1 video round, your solo piece must be from the Baroque/ Classical period (1650- 1820 Example: Bach, Mozart, Vivaldi, Beethoven, Haydn, etc.). OR from the Romantic, Impressionistic, or Contemporary period (1820-present Example: Chopin, Tchaikovsky, Debussy, Stravinsky, Bartók, Hindemith, etc.). • For the Preliminary 1 video round, your one piece can be any length. Should you advance to the Preliminary 2, (live audition round), your two pieces must fit within 10-minutes. • Prior performance or competition video is acceptable if filmed within the last 8 months • If you choose a contemporary piece, please email the name of the composer for approval at [email protected]. • Original compositions are not allowed. • You may only apply to this category with one instrument. • Piano: Concertos are not allowed; only solo piano pieces. • All other instruments: Pieces written with accompaniment must be performed with live or pre-recorded accompaniment. • A capella performances of works requiring accompaniment are not allowed. • If you advance to Preliminary 2, you may change your piece for the next round and will be required to perform one piece from the Baroque/Classical period and one from the Romantic, Impressionistic or Contemporary period. -
Classicism, Modernism, Postmodernism, and Importance of Communication
Classicism, Modernism, Postmodernism, and Importance of Communication Taylor Stevenson Art History II Prof Jason Bernagozzi Midterm Exam March 09, 2016 Art and societies have long since been integrated, with both realms reflecting each other through understandings, values, and ideas. When either realm changes its ideologies, the other realm tends to reflect those changes in a similar form. This is prevalent in the understanding of art movements over the course of history, especially with three periods of art: Classicism, Modernism, and Post Modernism. Through these art movement periods, we can see how ideologies of the artist have evolved from working for other professions that use art as a means to an end, to using art as a way to communicate their own ideas, to creating art for the viewer to decide on the meaning. Many artworks that were taken from (or inspired by) Greek and Roman cultural art are considered to be classical. This may be because at this point in time, the societies behind these works of art have established an aesthetic standard that serves as a fundamental basis for other art movements. The Editors of Encyclopædia Britannica note “’classic’ is also sometimes used to refer to a stage of development that some historians have identified as a regular feature of what they have seen as the cyclical development of all styles.” When applied to art (especially art in the western/European world), these “classic” greek and roman roots placed emphasis on a realistic form, and line over color in two dimensional pieces1. Sculptures of these times, while considered important, did not necessarily translate into the aesthetic view of the next generation. -
Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio. -
The Crusade of Andrew II, King of Hungary, 1217-1218
IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land. -
What Was 'The Enlightenment'? We Hear About It All the Time. It Was A
What Was ‘The Enlightenment’? We hear about it all the time. It was a pivotal point in European history, paving the way for centuries of history afterward, but what was ‘The Enlightenment’? Why is it called ‘The Enlightenment’? Why did the period end? The Enlightenment Period is also referred to as the Age of Reason and the “long 18th century”. It stretched from 1685 to 1815. The period is characterized by thinkers and philosophers throughout Europe and the United States that believed that humanity could be changed and improved through science and reason. Thinkers looked back to the Classical period, and forward to the future, to try and create a trajectory for Europe and America during the 18th century. It was a volatile time marked by art, scientific discoveries, reformation, essays, and poetry. It begun with the American War for Independence and ended with a bang when the French Revolution shook the world, causing many to question whether ideas of egalitarianism and pure reason were at all safe or beneficial for society. Opposing schools of thought, new doctrines and scientific theories, and a belief in the good of humankind would eventually give way the Romantic Period in the 19th century. What is Enlightenment? Philosopher Immanuel Kant asked the self-same question in his essay of the same name. In the end, he came to the conclusion: “Dare to know! Have courage to use your own reason!” This was an immensely radical statement for this time period. Previously, ideas like philosophy, reason, and science – these belonged to the higher social classes, to kings and princes and clergymen. -
Secondary Instrumental Summer Resources Week
SECONDARY INSTRUMENTAL SUMMER RESOURCES WEEK ONE: Get to know real orchestra musicians in our area: check out the New Haven Symphony’s YouTube channel! https://www.youtube.com/user/NewHavenSymphony/videos Make sure to check to see if one of them plays your instrument! WEEK TWO: Watch this orchestra performance and click around to change which families of instruments you see: https://play.lso.co.uk/performances/Berlioz-Symphonie-Fantastique See if you can find your instrument and follow along with their part in the music! WEEK THREE: Have you ever been conducted by someone great? (Besides Barkon, Socha, Gunn, Rothbard?) Here is a short video where you can watch some of today’s greatest conductors rehearsing their groups. See, it’s not just your teachers that work their instrumentalists hard! https://www.youtube.com/watch?v=0otfQGoU13U WEEK FOUR: Are orchestral instruments still relevant today? Check out BLACK VIOLINS - an amazing duo who will help you to see that once you learn an instrument, there are no limits! https://www.youtube.com/watch?v=9I-_jWchUeA WEEK FIVE: This week, check out all the videos some examples of “found sound” in this playlist: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN7baBC4yeSQLKPMgvxpr9Pi. Let the videos give you ideas for using things around your house to create sounds. Play along with your favorite songs, or make up your own music, using objects and things you have around your home. WEEK SIX: Line Riders ride to classical music. We have lots of videos posted combining a popular game with some great music. This is a great way to “see” the music in a different way! Take a look here: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN4_Xd-0DE_ZeViotAwcu4Mi WEEK SEVEN: Watch some amazing instrumentalists solo on their instruments. -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section. -
Baroque & Classical Music
Baroque & Classical Music Structure • Balanced phrasing (phrases are equal lengths, usually two or 4 bars long). • Question and answer (when a 2 or 4 bar phrase is answered by a phrase of an equal length). • Binary form (AB). Each section is repeated (look out for repeat signs). A change in key (home note) provides a contrast between the two sections. • Ternary form (ABA) • Rondo form (ABACA). • Theme and variation. A theme is played and then repeated with variations. Variations can be created in many ways e.g. by adding ornaments, changing the accompaniment, changing the instrumentation, inverting the melody. This is called melodic development. Other features • Ornamentation (twiddly bits / melodic decoration). For example: trill, turn and grace note. • In a trill, 2 next door notes alternate really quickly e.g. CDCDCDCDCDCDCD • A turn is made up of 4 next door notes shaped like this: or • Grace note/s are crushed very quickly onto the main melody note. They appear on the score as tiny notes e.g. • Sequences are created when a motive (a short bit of melody) is repeated on a different note. If the motive is repeated on a higher set of notes this is called an ascending sequence. If the motive is repeated on a lower set of notes this is called a descending sequence. • Imitation (especially in Baroque music) is created when a motive is copied, often by a different instrument or voice. • Melodic inversion is often used to create variation (e.g. CDE becomes EDC) • Ostinato (a repeating pattern, often occurs in an accompanying part) Tonality OR scales and harmonies • Major and minor keys, established in the Baroque period, continued to be used in the Classical period.