DOCSLIB.ORG

Portfolio of Original Compositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Portfolio of Original Compositions Portfolio of Original Compositions A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 Joshua Brown School of Arts, Languages and Cultures Contents List of Examples………………………………………………………………… 4 Contents of CDs and USB……………………………………………………… 5 Abstract…………………………………………………………………………. 6 Declaration……………………………………………………………………… 7 Copyright……………………………………………………………….……….. 8 Acknowledgements……………………………………………………………... 9 Chapter 1 – Introduction……………………………………………….……… 10 Chapter 2 – Musical Influences from Other Cultures 2.1 String Trio…………………………………………………………… 14 2.2 Duet for Clarinets…………………………………………………… 17 2.3 A reed before the wind… ……………………………………….….. 19 2.4 Singing Ringing Tree………………………………………………… 22 Chapter 3 – Pattern 3.1 General……………………………………………………..…………. 24 3.2 Juggling Patterns……………………………………………..……… 25 3.3 Infinity Series as a Structural Device………………………….…… 28 Chapter 4 – Musical Line and Teleology………………………………………. 32 Chapter 5 – Performer Freedom………………………………………..……… 38 2 Chapter 6 – Convergences………………………………………………..……… 42 Chapter 7 – Conclusion………………………………………………….……… 50 Bibliography…………………………………………………………………….. 52 Appendix 1: Scores Studied (indicative list)……………………………….…... 55 Appendix 2: On the Stork Tower Full Score………………………………..…... 61 Word Count – 12,506 3 List of Examples Ex. 1 - Anhemitonic and Transdanubian hemitonic pitch sets…………………. 16 Ex. 2 - Anhemitonic pentatonic matrix………………………………………… 16 Ex. 3 - Opening of the second movement of Duet for Clarinets……………….. 18 Ex. 4 - Diagram by Kevin Cheng of the Shēng’s construction……………….... 20 Ex. 5 - Passage demonstrating the more aggressive Shēng line………………... 21 Ex. 6 - Singing Ringing Tree sculpture by architects Tonkin Liu………………. 23 Ex. 7 - Greek modes used in Duet for Clarinets………………………………... 26 Ex. 8 - Site-swap 531 diagram………………………………………………….. 27 Ex. 9 - Assignation of modes to players, according to site-swap 3…………….. 27 Ex. 10 - Sketch of the first 64 events as numerals (up to appearance of 6)……. 29 Ex. 11 - Assignation of extended techniques to numerals in the Infinity Series.. 30 Ex. 12 - Twelve-tone counterpoint sketch……………………………………… 35 Ex. 13 - Original line used as material from figure K…………………………... 35 Ex. 14 - Different tempi for unison line in A Summer Night…………………… 40 Ex. 15 - Example of the free and strict material in movement II……………….. 41 Ex. 16 - Plan for character of each movement………………………………….. 43 Ex. 17a - Infinity Series constructed from the interval of a perfect fifth……….. 45 Ex. 17b - Line without octave displacement, showing quint-shifting shapes….. 45 Ex. 18 - Theoretical site-swap…………………………………………………... 47 Ex. 19 - Example of one of the shapes from figure C…………………………... 47 4 Contents of CDs and USB CD 1 1. String Trio (16’44): Psappha, live recording 19th February 2015, Cosmo Rodewald Concert Hall, Manchester. 2. Duet for Clarinets (11’22): Ellie Sherwood and Seb Marshall, live recording 27th November 2015, Cosmo Rodewald Concert Hall, Manchester. 3. A reed before the wind… (18’39): Manchester University Chamber Orchestra, with soloists Lixian Chew (Shēng) and Seb Marshall (Clarinets), conducted by James Heathcote, live recording 12th March 2016, Cosmo Rodewald Concert Hall, Manchester. 4. Singing Ringing Tree (15’25): Gavin Osborn, live recording 15th May 2016, International Anthony Burgess Foundation, Manchester. CD 2 1. A Summer Night (22’28): Georgia Brown, Katherine Blumer, Dan Nolan, Max Bilbe, Mabon Jones, Malcolm Goodare, with soloist Abi Kitching, conducted by Robin Wallington, recorded 14th May 2018, Cosmo Rodewald Concert Hall, Manchester. 2. Convergences (25’13): Manchester University Music Society Symphony Orchestra, conducted by Mark Heron, live recording 21st October 2017, Cosmo Rodewald Concert Hall, Manchester. 3. On the Stork Tower (06’30): Ad Solem, conducted by Rory Johnston, live recording 8th November 2016, Whitworth Hall, Manchester. (See Appendix 2 for full score.) USB Pdfs of all portfolio compositions, a pdf of this commentary, and the digital sound files of the recordings that can be heard on the CDs as listed above. 5 Abstract This composition portfolio consists of six original compositions, as listed below: String Trio (Violin, Viola and Violoncello, 2015) Duet for Clarinets (2 Clarinets in Bb, 2015) A reed before the wind... (Chamber Orchestra, with Shēng and Clarinet soloists, 2016) Singing Ringing Tree (Solo Flute, 2016) A Summer Night (Flute, Clarinet, Percussion, Piano, Violin, Violoncello, with Mezzo-Soprano soloist, 2016) Convergences (Symphony Orchestra, 2017) The following commentary gives details of the research conducted during the process of their composition. This includes chapters discussing the following specific research areas: the influence of music from cultures outside the Western concert hall tradition, the use of pattern within the process of composing, the importance of line and teleology, and the exploration of performer freedom in my work. The sixth chapter discusses how the previous investigations into these topics for earlier works influenced the outcome of Convergences, the final and largest piece in the portfolio. 6 Declaration No portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. 7 Copyright i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. iv. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=24420), in any relevant Thesis restriction declarations deposited in the University Library, The University Library’s regulations (see http://www.library.manchester.ac.uk/about/regulations/) and in The University’s policy on Presentation of Theses. 8 Acknowledgements I wish to express my thanks to my teacher, Professor Philip Grange, for his expert guidance and for being a source of inspiration throughout my time in Manchester. I also wish to thank my friends and family for their constant support, especially my parents Steve and Jayne, and my brother Ben. Finally, thanks to all the wonderful musicians I have had the pleasure of working with throughout my PhD research. 9 Chapter 1 - Introduction The primary research aims for this PhD were originally as follows: To integrate influences, such as idioms and forms, from Eastern Europe into my own musical language. To apply musical systems derived from mathematical structures. These primary aims originated from interests I developed during my Master’s degree. I had wanted to pursue these lines of inquiry following a collaboration with the percussionist Tim Williams, which involved working together on a piece for solo cimbalom. During this process I began to research the folk music of Eastern Europe, and Hungary more specifically. The cimbalom is a prevalent feature of the music of this area, and my interest was enhanced by hearing it played in Prague during the summer before my PhD began. During my Master’s studies I also found that working with mathematical and numerical structures, especially the use of Golden Section proportions, had been particularly useful in my approach to how I planned my work. Once I had actually started my PhD research I found that I was drawn to influences from a broader scope than my initial research goals. This was due, in part, to a realisation that I was interested in musical influences from more diverse sources than purely Eastern European. I also discovered that the process of collaboration with musicians who work in genres to which I am unaccustomed informs this interest. Equally, through this diversification of the folk music influences I was working with, I found that my research into musical applications of mathematical concepts was much more useful and interesting when focussing on pattern rather than pure mathematics. This was not only more interesting in itself, but I also found that the use of pattern was a more suitable area of research to explore in order to integrate the two initial research aims and to explore their influence on each other. It was agreed between myself, my supervisor, and my research panel, that changing
Load more

Recommended publications
  • The Ukrainian Weekly 2001, No.16
    www.ukrweekly.com INSIDE: • “CHORNOBYL: THE FIFTEENTH ANNIVERSARY” Special section — pages 4-10. Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXIX No. 16 THE UKRAINIAN WEEKLY SUNDAY, APRIL 22, 2001 $1/$2 in Ukraine HE YuschenkoKRAINIAN government hangsEEKLY on, for now U.S.T grants asylum U W by Roman Woronowycz Rada, which last week submitted 237 law- Kyiv Press Bureau makers’ signatures in support of the propos- to Melnychenko, al. A simple majority of 226 signatures was KYIV – The government of Victor needed to table the proposal. The parlia- Yuschenko was left hanging by a thread on mentary session accepted the motion on Myroslava Gongadze April 19 after Ukraine’s Parliament voted in April 17 prior to a report by Prime Minister by Roman Woronowycz support of a resolution criticizing the work Yuschenko on the progress made in 2000 Kyiv Press Bureau of his Cabinet in 2000 as unsatisfactory. on implementation of the government’s The lawmakers decided to schedule a vote KYIV – The wife of Heorhii Gongadze, economic revival plan, called “Reforms for on a motion of no confidence within a the missing journalist feared dead who is at Well-Being.” week, which if passed would lead automati- the center of a huge political crisis in Kyiv, The Social Democrats (United), Labor and a former presidential bodyguard who cally to the dissolution of the government. Ukraine and the Democratic Union are con- produced tape recordings that seemingly The stormy session was marked by a sidered the bastions of the business oli- implicate the president in the disappearance near tragedy as National Deputy Lilia garchs and are led respectively, by Viktor have received political asylum in the United Hryhorovych of the Rukh faction doused Medvedchuk, Viktor Pinchuk and States, revealed the U.S.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9!
    [Show full text]
  • Cimbalom (Dulcimer)
    Data » Music » Typical Instruments » Cimbalom (Dulcimer) http://romani.uni-graz.at/rombase Cimbalom (Dulcimer) Zuzana Jurková The cimbalom is a stringed instrument of the box zither type. Its strings are played with two hammers held in the player's hands. The sound box often has a trapezoidal shape with a varying number of resonance openings. The instrument usually has three to five strings for each course; that is, there are several strings – three to five – for each note. The strings, (most frequently steel, as in the piano), are often separated by bridges into two or three parts. The wooden hammers have, over the course of time, had a great variety of shapes. The two ends of Hungarian cimbalom (as it is called in Hungary) hammers have different sound qualities: one end is covered with felt; the other is uncovered. The oldest known instruments of this type in Europe date back to the fifteenth century (Germany, the Alpine region, Italy, Poland, Hungary, the Czech lands, northern France and England). There is proof that, in the seventeenth century, they spread to Scandinavia and Spain. In the seventeenth and eighteenth centuries, the cimbalom spread from Europe to the regions ruled by Turkey – including Persia, where it was called a santúr. There it became one of the most important classical musical instruments. In the nineteenth century – in contrast to the growth in popularity of the piano for sophisticated music in western Europe – the cimbalom became, above all, an instrument for folk music and music of the lower classes living in cities, chiefly in the Alpine region and in eastern Europe.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • The Sound Imitation of Some National Instruments in Piano Music 7
    The sound imitation of some national instruments in piano music 7 The sound imitation of some national instruments in piano music La imitación sonora de algunos instrumentos nacionales en música de piano. aBSTRACT The article reveals the textural, timbre-dynamic, harmonic, performing and other musical means of imitating the sound of national instruments in piano music. Based on the analysis of literature and works by M. Mussorgsky, S. Rachmaninov, F. Liszt, Wang Jiangzhong, Zhu Wanhua, A. Rudenko, R. Kasimov and other composers, summarizing the performing and pedagogical experience of studying piano works shows the means of implementing various instruments to groups of idiophones, membranophones, chordophones and aerophones according to the instrumental classification of Hornbostel-Sachs. The article shows that onomatopoeia is based not only on the sound image of the primary source instrument, but also on recreating the playing techniques of playing it. At the same time, the traditions of academic art, the achievements of European pianism and the sound capabilities of the piano are actualized. Imitation of the sound of the bell, one of the idiophones, occupies an important place in foreign and domestic music. In the works of Russian composers, various types of Orthodox bells ring out, such as Blagovest, Perebor, Perezvon, and Trezvon. In the works of Chinese composers, the sounds of ancient bianzhong ceremonial bells are displayed. The imitation of a bell is based on the reproduction of its timbre-acoustic characteristics, rich in overtones of a booming sound, long and smoothly dying out, accompanied by other harmonies or figurations, pedalization of the piano. The imitation of string-stringed chordophones is notable for its expressiveness, melodic expressiveness, improvisation, and rich ornamentation.
    [Show full text]
  • Romanian Traditional Musical Instruments
    GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival.
    [Show full text]
  • FW May-June 03.Qxd
    IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.
    [Show full text]
  • The Tsymbaly Maker and His Craft: the Ukrainian Hammered Dulcimer in Alberta
    m Canadian Series in Ukrainian Ethnology Volume I • 1991 Tsymbaly daker and His Craft The Ukrainian Hammered Dulcimer In Alberta Mark Jaroslav Bandera Huculak Chair of Ukrainian Culture & Ethnography Canadian Institute of Ukrainian Studies Press Canadian Series in Ukrainian Ethnology THE TSYMBALY MAKER AND HIS CRAFT: THE UKRAINIAN HAMMERED DULCIMER IN ALBERTA Mark Jaroslav Bandera Publication No. 1-1991 Huculak Chair of Ukrainian Culture and Ethnography Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton, Alberta ACKNOWLEDGEMENTS This study has been possible only with the cooperation of the tsymbaly makers of east central Alberta and particularly with the support and patience of Mr. Tom Chychul. Mr. Chychul is a fine craftsman and a rich source of information on tsymbaly and the community associated with them. Mr. Chychul continues to make tsymbaly at the time of printing and can be contacted at R.R. 4 Tofield, Alberta TOB 4J0 Drawings were executed by Alicia Enciso with Yarema Shulakewych of the Spectra Architectural Group. Cover design by Kevin Neinhuis. Huculak Chair of Ukrainian Culture and Ethnography and Canadian Institute of Ukrainian Studies Press University of Alberta Canadian Series in Ukrainian Ethnology Editors Bohdan Medwidsky and Andriy Nahachewsky Canadian Cataloguing in Publication Data Bandera, Mark Jaroslav, 1957- The tsymbaly maker and his craft (Canadian series in Ukrainian ethnology ; 1) Co-published by the Huculak Chair of Ukrainian Culture and Ethnography, University of Alberta. Includes bibliographical references. ISBN 0-920862-80-2 1. Ukrainian Canadians—Alberta—Music—History and criticism. 2. Musical instruments—Construction—Alberta. 3. Cimbalom. I. University of Alberta. Huculak Chair of Ukrainian Culture and Ethnography.
    [Show full text]
  • Peermusic Classical 250 West 57Th Street, Suite 820 New York, NY 10107 Tel: 212-265-3910 Ext
    classical RentalRentalSalesSales CatalogCatalogCatalogCatalog 20092009 Peermusic Classical 250 West 57th Street, Suite 820 New York, NY 10107 tel: 212-265-3910 ext. 17 fax: 212-489-2465 [email protected] www.peermusicClassical.com RENTAL CATALOG REPRESENTATIVES WESTERN HEMISPHERE, JAPAN Subito Music Corp. 60 Depot Rd. Verona, NJ 07044 tel:973-857-3440 fax: 973-857-3442 email: [email protected] www.subitomusic.com CONTINENTAL EUROPE UNITED KINGDOM AUSTRALIA/NEW ZEALAND Peermusic Classical GmbH Faber Music Ltd. Hal Leonard Australia Pty Ltd. Mühlenkamp 45 3 Queen Square 4 Lentara Court D22303 Hamburg London WC1N 3AU Cheltenham Victoria 3192 Germany England Australia tel: 40 278-37918 tel: 0171 278-7436 tel: 61 3 9585 3300 fax: 40 278-37940 fax: 0171 278-3817 fax: 61 3 9585 8729 email: [email protected] email: [email protected] email: [email protected] www.peermusic-classical.de www.fabermusic.com www.halleonard.com.au Please place rental orders directly with our representatives for the territories listed above. Contact Peermusic Classical New York for all other territories. Scores indicated as being published for sale may be ordered from: Hal Leonard Corp., 7777 West Bluemound Rd., PO Box 13819, Milwaukee, WI 53213 tel: (414) 774-3630 fax: (414) 774-3259 email: [email protected] www.halleonard.com Perusal scores: [email protected] Peermusic Classical, a division of Peermusic, publishes under four company names: Peer International Corp., Peermusic III, Ltd. (BMI), Southern Music Publishing Co., Inc., and Songs of Peer, Ltd. (ASCAP) Peer International Corporation is sole world representative for music publications of PAN AMERICAN UNION and EDICIONES MEXICANAS DE MUSICA, A.C.
    [Show full text]
  • Title of Paper
    Teaching methods Khim of Chanok Sagarik in Thailand 4.0 Nuttida Numpranee1 Abstract Thailand has been in the economic and political turning point many times along with the world’s structural change in the 21st century. If Thailand does not formulate a precise vision and strategy of national development and does not take action to drive the country by the revolution and serious change. Thailand may encounter the degrading condition from second world countries at the present time. Thailand may become the third world country in the future. If the revolution is successful, Thailand will become the first world country. Before entering Thailand 4.0, it comprised of various ages consistently developed: Thailand 1.0 (the age of agricultural revolution), Thailand 2.0 (the age of industrial society) and Thailand 3.0 (the age of initial digital). Until now, technology and innovation are merged and developed. When the current government has announced to use the model to drive Thailand towards sustainability and wealth, Thai musical instrument is considered the culture apparently indicating uniqueness and Thainess. Therefore, it must be acclimated to the current society. Existence of Thai musical culture must be succeeded to. Teachers of Thai musical instrument pass on the knowledge by the oral method, making learners memorize. Teachers demonstrate, and learners follow what is demonstrated as the main method used in the eastern culture. Ajarn Chanok Sakrik is an expert of Khim which is a Thai stringed musical instrument. The teaching way is developed for modernity towards the social change. Ajarn Chanok Sakrik has the new teaching way, the software of how to play a Khim is created, including the various teaching media based on the learner-centered theory.
    [Show full text]
  • Kodaly Overview and Analysis
    A Historical Overview and Analysis of the Use of Hungarian Folk Music in Zoltán Kodály’s Háry János Suite, Dances of Marosszék, and Dances of Galánta Copyright 2011 Author: Corinne Kay Ong Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________ Chairperson: Dr. Paul Laird ________________________________ Dr. Charles Freeman ________________________________ Dr. Eric Stomberg ________________________________ Dr. Stephanie Zelnick Date Defended: 05/17/2011 ii The Thesis Committee for Corinne Kay Ong certifies that this is the approved version of the following thesis: A Historical Overview and Analysis of the Use of Hungarian Folk Music in Zoltán Kodály’s Háry János Suite, Dances of Marosszék, and Dances of Galánta ________________________________ Chairperson: Dr. Paul Laird Date approved: 05/17/2011 iii Abstract At the beginning of the twentieth century, many composers looked towards the music of their own heritage as source material for their original compositions. In Hungary, one composer who dedicated a significant portion of his life to the research, study, and transcription of folk music is Zoltán Kodály. Three of his orchestral works dating from 1926 to 1933 make imaginative use of various Hungarian folk melodies within orchestral textures that also include the traditional idioms of concert music. These three works are the Háry János Suite, Dances of Marosszék, and Dances of Galánta. These three pieces are closely examined for their adherence to the customs of Hungarian folk music, influence of Western practices within the work, and how Kodály combines the two elements to form original ideas.
    [Show full text]