Op. 11 by Joseph Baber

Total Page:16

File Type:pdf, Size:1020Kb

Op. 11 by Joseph Baber University of Kentucky UKnowledge Theses and Dissertations--Music Music 2021 An Analysis of Kingdom of the Heart's Content, Op. 11 by Joseph Baber Sanghee Kim University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2021.022 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kim, Sanghee, "An Analysis of Kingdom of the Heart's Content, Op. 11 by Joseph Baber" (2021). Theses and Dissertations--Music. 176. https://uknowledge.uky.edu/music_etds/176 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Sanghee Kim, Student Dr. Irina Voro, Major Professor Dr. Lance Brunner, Director of Graduate Studies AN ANALYSIS OF KINGDOM OF THE HEART’S CONTENT, OP. 11 BY JOSEPH BABER ________________________________________ DOCTOR OF MUSICAL ARTS PROJECT ________________________________________ A DMA project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Sanghee Kim Lexington, Kentucky Director: Dr. Irina Voro, Professor of Piano Lexington, Kentucky 2021 Copyright © Sanghee Kim 2021 ABSTRACT OF DOCTOR OF MUSICAL ARTS PROJECT AN ANALYSIS OF KINGDOM OF THE HEART’S CONTENT, OP. 11 BY JOSEPH BABER Kingdom of the Heart’s Content, Op. 11 is a selection of twelve sketches written between 1952 and 1956. In this work, Joseph Baber draws inspiration from his childhood memories and a variety of locations in Richmond, Virginia, using his unique blend of folk idioms, traditional forms and harmonies, and capricious metric changes to bring these vignettes to life. Kingdom of the Heart’s Content is comprised of twelve movements with the programmatic titles: Introduction: Stick Horses, Walk to Monroe Park, Charlie Short, Tag, Monument Avenue, Battle Abbey, Cycling, Sleighbells, Park Avenue Triangle, Goblins, Spring, and Finale: West End Farewell. The purposes of this DMA project are 1) to provide pianists and teachers with insight into Joseph Baber’s life, compositional style, and musical philosophy, 2) to provide a descriptive analysis and a brief performance suggestion of Kingdom of the Heart’s Content. This document will introduce the selected piano work by Joseph Baber to students and teachers; provide biographical information about Joseph Baber’s life, education, and career; and examine his compositions in the context of his personal narrative. KEYWORDS: Joseph Baber, childhood, Richmond, solo piano, program music, twelve musical sketches Sanghee Kim February 19, 2021 AN ANALYSIS OF KINGDOM OF THE HEART’S CONTENT, OP. 11 BY JOSEPH BABER By Sanghee Kim Dr. Irina Voro Director of DMA Project Dr. Lance Brunner Director of Graduate Studies February 19, 2021 Date DEDICATION To my family. ACKNOWLEDGMENTS I would like to thank Dr. Irina Voro for being a persistent and encouraging mentor who is full of passion and positive energy. Her ingenious teaching style has helped me to achieve many goals and has shaped me into the musician I am today. I would also like to thank the other members of my committee: Dr. Lance Brunner for his help and encouragement during the writing process; Dr. Schuyler Robinson for his support, insightful comments about artistry, and musicianship; Dr. Jason Dovel for his thoughtful feedback and considerable coaching throughout the degree program, and Dr. Min-Young Lee for her well-rounded advice as I earned my degree. I also want to thank the composer, Joseph Baber, who constantly helped and encouraged me throughout this process. His support and guidance made this project possible. iii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………. iii LIST OF MUSICAL EXAMPLES ……………………………………………………… v PART I: “Kingdom of the Heart’s Content” for solo piano by Joseph Baber Chapter 1 Introduction……………………………………………………………… 1 Chapter 2 Biography of Joseph Baber…………………………………………….... 5 Chapter 3 An analysis of Kingdom of the Heart’s Content, Op. 11 ...……………. 23 Chapter 4 Conclusion……………………………………………………………… 85 Appendix Interview with Joseph Baber, 11/7/2019……………………………….. 88 PART II: Degree Recitals Program I……………………………………………………………………………….. 92 Program II…………………………….………………………………………………… 95 Program III……………………………………………………………………………. 100 Bibliography……………………………………………………………………………103 VITA ………………………………………………………………………………….. 106 iv LIST OF MUSICAL EXAMPLES Example 1. Opening in Introduction: Stick Horses, mm. 1–5…………………………… 26 Example 2. Use of regular pulse in the second section of the repeated A, mm. 48–54 ……. 27 Example 3. Motivic harmonic unit in Stick Horses …………….…………………………. 28 Example 4. Melodic movement by third and sequence of harmonic unit, mm. 13–24 …….. 28 Example 5. Modified harmonic unit in coda, mm. 59–67 ………………………………. 29 Example 6. Initial theme in the opening of Walk to Monroe Park, mm. 1–3 ……………… 31 Example 7. New melodic material in intro of B section, mm. 10–13 ………………………32 Example 8. Insertion of fraction of Part B before ending, mm. 36–38 ……………………. 33 Example 9a. First theme in Walk to Monroe Park, mm. 1–4 ……………………………… 33 Example 9b. Second theme in Walk to Monroe Park, mm. 7 ……………………………… 33 Example 10. Combination of first and second themes, mm. 32 and 33 ………………… 34 Example 11. Finding melody in scales in Walk to Monroe Park, mm. 12–15 …………….. 35 Example 12. Motivic idea and motivic development in Charlie Short, mm. 1–2 …………. 37 Example 13. Sequential patterns of motive in Charlie Short, mm. 9–10 ………………….. 37 Example 14. Use of Picardy third, mm. 11–13 …………………………………………. 38 Example 15. Shaping phrases in Charlie Short, m. 8 ……………………………………… 39 Example 16. Opening section in Tag, mm. 1–3 ……………………………………………. 40 Example 17. Second section in Tag, mm. 7–9 …………………………………………… 41 Example 18. Transition in Tag, mm. 14–16 …………………………………………………41 Example 19. Introduction of contrasting material, mm. 17–19 ……………………………. 42 Example 20. Reintroduce the motivic rhythm, mm. 23–25 …………………………….. 42 Example 21. Raising E♭ to E-natural before returning to home key, mm. 29–31 ………….. 43 v Example 22. Shaping in the repeated-notes phrase in Tag, m. 3 ………………………….. 44 Example 23. Opening section in Monument Avenue, mm. 1–4 …….…………………….. 46 Example 24. A series of tetra chord, mm. 7–10 ….…………………………………….. 46 Example 25. Reappearing of opening chord (BMm7♭9) ………………………………….47 Example 26. Octave displacement over chromatic scale, mm. 11 and 12 ……….………47 Example 27. Variants of dominant seventh, mm. 21–24 …………………………………. 48 Example 28. Insertion of E minor chord for the main theme, mm. 25–27 ………………… 49 Example 29. Inequality between notes in Monument Avenue, mm. 37–40 ………………. .50 Example 30. First phrase of first period in Battle Abbey, mm. 1–3 ……………………….. 52 Example 31. Use of polyphonic texture in Part B, mm. 13 and 14 ………….…………….. 53 Example 32. Use of diminished chords and intervals, mm. 15 and 16 …..…………….. 54 Example 33. ‘Question and Answer’ arrangements in Battle Abbey, mm. 1–3 ...………. 54 Example 34. Use of upper neighbor tone in Cycling, mm. 1–4 ……..…………………. 56 Example 35. Second recurring theme, mm. 15–18 ……….……………………………. 57 Example 36. Episode II, mm. 19–24 ………………...…………………………………. 57 Example 37. Episode III, mm. 33–35 …………………………….………………………. 58 Example 38. Use of creeping chromaticism, mm. 25–28 ………...……………………. 58 Example 39. Use of sostenuto al fine in coda of Cycling, mm. 40–43 …...………………. 59 Example 40. Associating musical idea with character in Cycling, mm. 29–32………… 60 Example 41. Introduction of ‘earthly theme’ in Sleighbells, mm. 1–10 ……………….…. 62 Example 42. ‘Heavenly theme’ beginning at measure 33, mm. 33–44 ..…………………. 63 Example 43. Returning to ‘earthly theme,’ in coda, mm. 44–47 ...………………………. 64 Example 44. Ending phrase of Sleighbells, mm. 51-54 ………….………………………. 64 vi Example 45. Shaping phrases in staccato passage in Sleighbells, mm. 34–37 ……….. 65 Example 46a. Excerpt from Rock-a-Bye Baby ……….…………………………………… 66 Example 46b. Quoted theme from song of Rock-a-Bye Baby, mm. 1 and 2 ……………… 66 Example 47. Opening in Park Avenue Triangle, mm. 1–5 ……………………………….. 67 Example 48. Use of modified D major scale in Part B, mm. 11–15 …..……………….. 68 Example 49. Use of fifth scale degree lowered, mm. 16–18 …….……………………… 68 Example 50. Cadence at the end of the first phrase, mm. 3 and 4 ………………………… 69 Example 51. Use of anticipation, mm. 6–10 ……………………..……………………….. 70 Example 52.
Recommended publications
  • Rehearing Beethoven Festival Program, Complete, November-December 2020
    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
    [Show full text]
  • 2019•20 Season
    bso andris nelsons music director 2019•20 season week 5 j.s. bach beethoven brahms bartók s seiji ozawa music director laureate bernard haitink conductor emeritus thomas adès artistic partner season sponsors Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to life-long support and our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the future of healthcare. Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 5 7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 2 celebrating malcolm lowe 2 4 this week’s program Notes on the Program 26 The Program in Brief… 27 J.S. Bach 35 Ludwig van Beethoven 43 Johannes Brahms 51 Béla Bartók 55 To Read and Hear More… Guest Artist 63 Sir András Schiff 68 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information the friday preview on october 18 is given by author/composer jan swafford. program copyright ©2019 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org “A work of art is the trace of a magnificent struggle.” GRACE HARTIGAN On view now Grace Hartigan, Masquerade, 1954.
    [Show full text]
  • The American Bach Society the Westfield Center
    The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance.
    [Show full text]
  • “Country Band” March Historical Perspectives, Stylistic Considerations, and Rehearsal Strategies
    “COUNTRY BAND” MARCH HISTORICAL PERSPECTIVES, STYLISTIC CONSIDERATIONS, AND REHEARSAL STRATEGIES by Jermie Steven Arnold A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Musical Arts Instrumental Conducting Committee: Director Program Director ___________________________________ Director of the School of Music Dean, College of Visual and Performing Arts Date: Spring Semester 2014 George Mason University Fairfax, VA “Country Band” March Historical Perspectives, Stylistic Considerations, And Rehearsal Strategies A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts at George Mason University By Jermie Steven Arnold Master of Music Brigham Young University, 2007 Bachelor of Music Brigham Young University, 2002 Director: Tom Owens, Associate Professor School of Music Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Jermie Steven Arnold All Rights Reserved ii DEDICATION For my lovely wife, Amber and my wonderful children, Jacob, Kyle and Bethany. iii ACKNOWLEDGEMENTS It is truly amazing how paths cross and doors open. Knowing there isn’t such a thing as a coincidence reminds me of the many blessings I have received during the journey to my Doctoral degree. I am grateful to my immediate and extended family who sacrificed much so that I could pursue my dreams. Their unyielding support kept me focused and determined. It is their faith in me that motivated the completion of this dissertation. To those I first called mentors and now friends: Mark Camphouse, Dennis Layendecker, Anthony Maiello, Tom Owens, and Rachel Bergman, thank you for your wisdom, expertise and most importantly your time.
    [Show full text]
  • A Pictoral History of the Boston Music Hall and the Great Organ
    A PICTORIAL HISTORY OF THE BOSTON MUSIC HALL AND THE GREAT ORGAN by Ed Sampson, President, Methuen Memorial Music Hall, Inc. 2018 Few instruments in the history of pipe organs in America have had as long, or as distinguished, a career as the Boston Music Hall Organ. The first concert organ in the country, it remains today one of the outstanding organs in America. The need for a large and centrally-located concert hall for Boston was discussed at the annual meeting of the Harvard Musical Association, founded in 1837 (Henry White Pickering (1811-1898), President) on January 31, 1851. A "Music Hall Committee", comprised of members Robert East Apthorp (1812-1882), George Derby (1819-1874), John Sullivan Dwight (1813-1893), Charles Callahan Perkins (1822-1886), and Dr. Jabez Baxter Upham (1820- 1902), was appointed to address the matter. The Boston Music Hall was built in 1852 by the Boston Music-Hall Association, founded in 1851 (Jabez Baxter Upham, President) and by the Harvard Musical Association, that contributed $100,000 towards its construction. It stood in the center of a block that sloped downward from Tremont Street to Washington Street; and was between Winter Street on the south and Bromfield Street on the north. Almost entirely surrounded by other buildings, only glimpses of the hall's massive granite block foundation and plain brick walls could be seen. There were two entrances to the Music Hall: the Bumstead Place entrance, (named after Thomas Bumstead (1740-1828) a Boston coachmaker), off Tremont Street (later Hamilton Place) opposite the Park Street Church; 1 and the Central Place or Winter Place (later Music Hall Place) entrance off Winter Street.
    [Show full text]
  • Vaughan Williams: Toward the Unknown Region Brahms: Ein Deutsches Requiem
    MIT Concert Choir Dr. William Cutter, Music Director Joseph Turbessi, assistant conductor and pianist Vaughan Williams: Toward the Unknown Region Brahms: Ein Deutsches Requiem Saturday, May 11 at 7:30pm. Kresge Auditorium, MIT. Kerry Deal and Robert Honeysucker, soloists Selig sind, die da Leid tragen. Blessed are they that mourn. Dedicated to the victims of the Boston Marathon bombings The MIT Concert Choir Dr. William Cutter, conductor Joseph Turbessi, assistant conductor and pianist “Selig sind, die da Leid tragen” (Blessed are they that mourn) This evening’s performance is dedicated to the victims of the Boston Marathon bombing. PROGRAM Toward the Unknown Region R. Vaughan Williams (1872-1958) (Walt Whitman) Ein Deutsches Requiem, Op. 45 Johannes Brahms (1833-1897) I. Selig sind, die da Leid tragen Matthew 5:4, Psalm 126:5–6 II. Denn alles Fleisch, es ist wie Gras 1 Peter 1:24; James 5:7; 1 Peter 1:25; Isaiah 35:10 III. Herr, lehre doch mich Psalm 39:5–8 (English verses 4–7); Wisdom of Solomon 3:1 IV. Wie lieblich sind diene Wohnungen Psalm 84:2,3,5 (English verses 1,2,4) V. Ihr habt nun Traurigkeit John 16:22; Ecclesiasticus 51:35 (English verse 27); Isaiah 66:13 VI. Denn wir haben hie kleine bleibende Statt Hebrews 13:14; 1 Corinthians 15:51–52,54–55; Revelation 4:11 VII. Selig sind die Toten Revelation 14:13 Kerry Deal, soprano Robert Honeysucker, baritone PROGRAM NOTES “Darest thou now, O Soul, walk out with me toward the unknown region?” Vaughan Williams’s Whitman setting shows the influence of other similar choral/orchestral miniatures, namely Parry’s Blest Pair of Sirens as well as of Brahms’ Schicksalslied and Alto Rhap- sodie.
    [Show full text]
  • The Future of (High) Culture in America March 19-21, 2014 Tucson, Arizona
    The Future of (High) Culture in America March 19-21, 2014 Tucson, Arizona This conference is supported with a grant from the Bradley Foundation Conference Agenda Wednesday, March 19, 2014 4:00 PM – 5:30 PM General Session Coyote Room Paul Pines – “The Submerged Center 5:30 PM Registration Sonoran Rooftop and the Poetic Imagination: Impact of Technology on Art and Culture” 6:00 PM – 7:00 PM Welcome Reception Sonoran Rooftop Respondents: Carol Iannone • Kurt Ellenberger • Terry Teachout Thursday, March 20, 2014 7:00 PM Meet in lobby for transportation to dinner 8:00 AM – 9:00 AM Continental Breakfast Sonoran Terrace 9:00 AM – 10:30 AM General Session Coyote Room 7:30 PM Dinner – Bluefin Restaurant Daniel Asia – Welcome and Introductions Friday, March 21, 2014 Terry Teachout – “Does High 8:00 AM – 9:00 AM Continental Breakfast Sonoran Terrace Culture in America Have A Future?” 9:00 AM – 10:30 AM General Session Coyote Room Respondents: Carol Iannone – “Plato Was Right” Paul Pines • Daniel Asia Respondents: 10:30 AM – 11:00 AM BREAK Sonoran Terrace Paul Pines • Daniel Lowenstein 11:00 AM – 12:30 PM General Session Coyote Room 10:30 AM – 11:00 AM BREAK Sonoran Terrace Jan Swafford – “Women and Long-Haired, Libidinous Foreigners: Classical Music and 11:00 AM – 12:30 PM General Session Coyote Room American Democracy” Elizabeth Kendall – “The Sleeping Beauty: New Clothes for An Awakened Princess” Respondents: George Hanson • Jesse Rosen • Paolo Prestini Respondents: John Wilson • Jory Hancock • Terry Teachout 12:30 PM – 2:00 PM LUNCH Sonoran Rooftop
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • Western Music, Cosmic Meaning, and the Great War
    Western Music, Cosmic Meaning, and the Great War Charles A. O’Connor III Georgetown University he ancient Greeks thought that mathematical laws governed music and the universe, producing the T unheard “music of the spheres” from planetary revolutions, and they thought that audible music reflected the physical and spiritual harmony of the entire world.1 Greek bards celebrated their gods and heroes in music, and Aristotle believed that music affected moral behavior.2 The Israelites claimed that David’s harp cured the madness of Saul and their trumpets toppled the walls of Jericho.3 This intimate relationship between music and the universe has permeated Western culture through the ages. In Shakespeare’s The Merchant of Venice, Lorenzo invites Jessica to hear “the sound of music” on a moonlit night: Look how the floor of heaven Is thick inlaid with pattens of bright gold: There is not the smallest orb which thou behold’st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls But whilst the muddy vesture of decay Doth grossly close it in, we cannot hear it.4 Because music is thoroughly ingrained in Western culture, it can provide a unique insight into the evolving Western perception of the universe—the worldview held by the composer as well as the 1 E.g., Pythagoras, Plato, and Ptolemy. J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 9th ed. (New York: W. W. Norton, 2014), 9-14; Plato, Republic, 10 (617). 2 Burkholder, Grout, and Palisca, A History of Western Music, 14; Aristotle, Politics, 8 (1340a-b); Odyssey, 8 (62-82).
    [Show full text]
  • The Increasing Expressivities in Slow Movements of Beethoven's Piano
    The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Robin McCabe, Chair Craig Sheppard Carole Terry Program Authorized to Offer Degree: School of Music ©Copyright 2019 Li-Cheng Hung University of Washington Abstract The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung Chair of the Supervisory Committee: Dr. Robin McCabe School of Music Ludwig van Beethoven’s influential status is not only seen in the keyboard literature but also in the entire music world. The thirty-two piano sonatas are especially representative of his unique and creative compositional style. Instead of analyzing the structure and the format of each piece, this thesis aims to show the evolution of the increasing expressivity of Beethoven’s music vocabulary in the selected slow movements, including character markings, the arrangements of movements, and the characters of each piece. It will focus mainly on these selected slow movements and relate this evolution to changes in his life to provide an insight into Beethoven himself. The six selected slow movements, Op. 2 No. 2, Op.13 Pathétique, Op. 53 Waldstein, Op. 57 Appassionata, Op. 101 and Op. 110 display Beethoven’s compositional style, ranging from the early period, middle period and late period.
    [Show full text]
  • JUNE 2018 Andover Organ Company Seventieth Anniversary Cover Feature on Pages 26–28
    THE DIAPASON JUNE 2018 Andover Organ Company Seventieth Anniversary Cover feature on pages 26–28 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER 50th Anniversary Season THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 6, Summer schedules, summer travel Whole No. 1303 With warmer months and the end of the choir and academic JUNE 2018 year, many of us are looking forward to summer travel. Perhaps Established in 1909 you will attend a convention, workshop, or take classes for con- Stephen Schnurr ISSN 0012-2378 tinuing education. Our April issue contained a list of many oppor- 847/954-7989; [email protected] tunities to attend conferences around the country and abroad. www.TheDiapason.com An International Monthly Devoted to the Organ, Our Here & There section contains announcements of many the Harpsichord, Carillon, and Church Music summer organ and carillon recital series. Several of these are in In this issue the Midwest: Indiana, Michigan, and Iowa, in particular. For June, we present an interview with Stephen Cleobury of CONTENTS Many of our readers will take advantage of summer abroad.
    [Show full text]
  • Villanelle (From Les Nuits D'été)
    THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Mrs. James R. Preston Memorial Chamber Music Series: An Evening of Diamonds I Belhaven Piano Quartet Mr. Song Xie, Violin Mrs. Liz Taylor, Viola Mrs. Nancy Bateman, Cello Dr. Stephen W. Sachs, Piano Tuesday, September 8, 2015 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert Please turn off all cell phones and electronics. PROGRAM Quartet in C Minor, Op. 1 Felix Mendelssohn • 1809 - 1847 Allegro vivace Adagio Scherzo: Presto Allegro moderato INTERMISSION Quartet in C Minor, Op. 60 Johannes Brahms • 1833 - 1897 Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Mr. Song Xie, Violin; Mrs. Liz Taylor, Viola; Mrs. Nancy Bateman, Cello; Dr. Stephen W. Sachs, Piano PROGRAM NOTES Mendelssohn’s Opus 1 was completed in 1822 man in love with his best friend's wife who does and dedicated to Prince Antoni Radziwill not return his affection. Kenneth LaFave [Classical (nobleman, musician, politician, and generous Program Notes] indicates that Brahms' feelings for patron of music). Even at the age of 13, we see Clara Schumann may have inspired this dark and the balance of classic and romantic elements in turbulent music and the connection to Goethe's Mendelssohn’s writing; his careful crafting, love of work. According to Jan Swafford, Robert order and conservative approach. An elegance is Schumann used notes C, B, A, G-sharp, A to musically represent Clara's name.
    [Show full text]