Abt Vogler on the Horn Parts in Peter Winter's Symphony in D Minor
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1 Eighteenth-Century Music in a Twenty-First Century Conservatory of Music Or Using Haydn to Make the Familiar Exciting by Mary
1 Morrow, Mary Sue. “Eighteenth-Century Music in a Twenty-First Century Conservatory of Music, or Using Haydn to Make the Familiar Exciting.” HAYDN: Online Journal of the Haydn Society of North America 6.1 (Spring 2016), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2016. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Eighteenth-Century Music in a Twenty-First Century Conservatory of Music or Using Haydn to Make the Familiar Exciting by Mary Sue Morrow University of Cincinnati College-Conservatory of Music I. Introduction Teaching the history of eighteenth-century music in a conservatory can be challenging. Aside from the handful of music history and music theory students, your classes are populated mostly by performers, conductors, and composers who do not always find the study of music history interesting or even necessary. Moreover, when you step in front of a graduate-level class at the College-Conservatory of Music at the University of Cincinnati, everybody in the class is going to know all about the music of the eighteenth century: they’ve played Bach fugues and sung in Handel choruses; they’ve sung Mozart arias and played Haydn string quartets or early Beethoven sonatas. They have also been taught to revere these names as the century’s musical geniuses, but quite a number of them will admit that they are not very interested in eighteenth-century music, particularly the music from the late eighteenth-century: It is too ordinary and unexciting; it all sounds alike; it is mostly useful for teaching purposes (definitely the fate of Haydn’s keyboard sonatas and, to a degree, his string quartets). -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
View of Secondary Sources, Evidence Was Inconclusive As to the Extent to Which Subject-Specific Studies Like This in Online Catalogs Had Previously Been Done
CORE SOURCES ON HARMONY AS REPRESENTED IN OHIO INSTITUTIONS: A SURVEY OF REPRESENTATIVE SOURCES FOUND IN OHIOLINK LIBRARIES ASSOCIATED WITH NASM-ACCREDITED MUSIC PROGRAMS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Peter H. Lisius May, 2011 Thesis written by Peter H. Lisius B.A, Luther College, 1998 M.L.S., Indiana University, 2000 M.A., Kent State University, 2011 Approved by , Advisor Richard O. Devore , Director, School of Music Denise A. Seachrist , Dean, College of the Arts John R. Crawford TABLE OF CONTENTS TABLE OF CONTENTS………………………………………………………………. iii ACKNOWLEDGEMENTS……………………………………………………………... v CHAPTER I. INTRODUCTION…………............................................................................... 1 Background of Topic Need for the Study Methodology II. SOURCES ON HARMONY…………………………………………………. 6 Classification of Sources MT50 Library of Congress Classification Other Classifications Appropriate to Harmony Historical Sources Modern Sources Historical Textbooks Modern Textbooks Sources Important to Theorists and Students of Theory III. NASM-ACCREDITED SCHOOLS IN OHIO AND THEIR MUSIC PROGRAMS……………………………………….. 18 Divisions of Schools By: Highest Degree Conferred Specific Types of Degrees Conferred Existence of a Separate Music or Performing Arts Library Association with an ARL Institution IV. ANALYSIS OF RESULTS………………………………………………… 23 Search Results Examination of Sources Searched Against OhioLINK Holding Patterns in Comparison with Categories of NASM-Accredited Schools V. RECOMMENDATIONS/CONCLUSION………………………………….. 41 Trends of Holdings in Libraries Associated with NASM-Accredited Institutions Appropriateness of OhioLINK Library Holdings Relating to Sources on Harmony Recommendations as to How Libraries in Ohio Can Better Serve Their Patrons Conclusion iii APPENDICES A. OhioLINK Libraries: Sources on Harmony in NASM-Accredited Institutions (Ashland University through the University of Mount Union)………… 48 B. -
Music of the Classical Period
2019/2020 Music of the Classical Period Code: 100641 ECTS Credits: 6 Degree Type Year Semester 2500240 Musicology OB 2 2 Contact Use of Languages Name: Jordi Rifé Santaló Principal working language: catalan (cat) Email: [email protected] Some groups entirely in English: No Some groups entirely in Catalan: Yes Some groups entirely in Spanish: No Prerequisites 1.Have a general knowledge of the History of Music, Art and Philosophy. 2.Have consolidated the bases of Harmony, Contrpunto and Musical Forms. Objectives and Contextualisation The course seeks to describe and explain the development of music and the musical phenomenon from the end of the last Baroque until the early decades of the XIX century. Therefore, it will be a contextualized journey through the most important composers, forms, genres, instruments and theories that make up the musical style of the music of the classical and musical classicism. Competences Critically analyse musical works from any of the points of view of the discipline of musicology. Developing critical thinking and reasoning and communicating them effectively both in your own and other languages. Identify and compare the different channels of reception and consumption of music in society and in culture in each period. Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective. Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology. Relate knowledge acquired to musical praxis, working with musicians through the analysis and contextualisation of different repertoires, both related to historical music and to the different manifestations of contemporary music. -
The Organist in Victorian Literature, Palgrave Studies in Music and Literature, DOI 10.1007/978-3-319-49223-0 102 BIBLIOGRAPHY
BIBLIOGRAPHY BOOKS Adelmann, Dale. The Contribution of Cambridge Ecclesiologists to the Revival of Anglican Choral Worship, 1839–62 (Aldershot; Burlington: Ashgate, c. 1997). Adorno, Theodor W. Quasi una Fantasia (Frankfurt am Main: Suhrkamp, 1963). Barger, Judith. Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England (Aldershot; Burlington: Ashgate, 2007). Barth, Karl. How I Changed My Mind (Richmond, VA: John Knox, 1966). Bashford, Christina, and Langley, Leanne. Music and British Culture, 1785–1914 – Essays in Honour of Cyril Ehrlich (Oxford: Oxford University Press, 2000). Begbie, Jeremy S. Theology, Music, and Time (Cambridge: Cambridge University Press, 2000). Berdoe, Edward. ed. Browning Studies: Being Select Papers by Members of the Browning Society (London: George Allen, 1909). Brooke, Stopford A. The Poetry of Robert Browning (London: Isbister and Company Ltd., 1903). Browning, Robert. The Complete Works of Robert Browning, Vol. VI, eds. Berkey, John C, Dooley, Allan C, Dooley, Susan E. (Athens, OH: Ohio University Press, 2003). Browning, Robert. Robert Browning’s Poetry, eds. Loucks, James F., Stauffer, Andrew M. (New York: W. W. Norton, c. 2007). Buckley, Jerome Hamilton. The Victorian Temper (New York: Random House, 1951). Bujić, Bojan. Music in European Thought, 1851–1912 (Cambridge: Cambridge University Press, 1988). © The Author(s) 2017 101 I. Quinn, The Organist in Victorian Literature, Palgrave Studies in Music and Literature, DOI 10.1007/978-3-319-49223-0 102 BIBLIOGRAPHY Burney, Charles. The Present State of Music in Germany, The Netherlands, and United Provinces, 2nd edn. (London, 1775; reprint, New York: Broude, 1969). Burney, Fanny. Memoirs of Dr. Burney, by his Daughter Madame D’Arblay (1832). -
Download Booklet
Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
Fall 2012 Curriculum Table of Contents
Fall 2012 Curriculum Table of Contents Center for the Advancement of Public Action…………………………………………………………………………… 1 Advancement of Public Action............................................................................................................................... 1 Design Labs ............................................................................................................................................................... 5 Conflict Resolution................................................................................................................................................... 6 Modules: Transferable Approaches....................................................................................................................... 6 Center for Creative Teaching………………………………………………………………………………………………. 9 Dance………………………………………………………………………………………………………………………... 11 Drama……………………………………………………………………………………………………………………….. 19 The Environment………………………………………………………………………………………………………….. 29 Foreign Languages………………………………………………………………………………………………………… 31 Chinese..................................................................................................................................................................... 31 Foreign Language Education................................................................................................................................32 French...................................................................................................................................................................... -
Copyright by Denise Parr-Scanlin 2005
Copyright by Denise Parr-Scanlin 2005 The Treatise Committee for Denise Parr-Scanlin Certifies that this is the approved version of the following treatise: Beethoven as Pianist: A View Through the Early Chamber Music Committee: K.M. Knittel, Supervisor Anton Nel, Co-Supervisor Nancy Garrett Robert Mollenauer David Neumeyer David Renner Beethoven as Pianist: A View Through the Early Chamber Music by Denise Parr-Scanlin, B.M., M.F.A. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2005 Dedication To my mother and first piano teacher, Daisy Elizabeth Liles Parr Acknowledgements I wish to acknowledge the kind assistance of my treatise committee, Dr. Kay Knittel, Dr. Anton Nel, Professor Nancy Garrett, Dr. Robert Mollenauer, Dr. David Neumeyer, and Professor David Renner. I especially thank Dr. Kay Knittel for her expert guidance throughout the project. I also thank Janet Lanier for her assistance with the music examples and my husband, Paul Scanlin, for his constant support and encouragement v Beethoven as Pianist: A View Through the Early Chamber Music Publication No._____________ Denise Parr-Scanlin, D.M.A. The University of Texas at Austin, 2005 Supervisors: K.M. Knittel, Anton Nel Our inability to reconstruct what Ludwig van Beethoven must have sounded like as a pianist is one of the more vexing questions of music history. Unreliable sources and his short performing career, in addition to a lack of virtuoso public pieces, have contributed to this situation. -
Concerto for Violoncello and Orchestra, Op
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2009-11-24 Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition Sharon Meilstrup Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Music Commons BYU ScholarsArchive Citation Meilstrup, Sharon, "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition" (2009). Theses and Dissertations. 2309. https://scholarsarchive.byu.edu/etd/2309 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. CONCERTO FOR VIOLONCELLO AND ORCHESTRA, OP. 27 BY PAUL WRANITZKY: A CRITICAL EDITION by Sharon Meilstrup A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts School of Music Brigham Young University December 2009 Copyright © 2009 Sharon Meilstrup All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Sharon Meilstrup This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ____________________________ _________________________________ Date E. Harrison Powley, Chair ____________________________ _________________________________ Date Steven -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.