Ks2 – 4 Resource Pack for Teachers the Child and the Magic Spells (L’Enfant Et Les Sortilèges) 2
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Contemporary Music Score Collection
UCLA Contemporary Music Score Collection Title Fragmente über das Marionettentheater Permalink https://escholarship.org/uc/item/6dx3b44v Author Santander, Gabriel Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Score in A440 Fragmente über das Marionettentheater para Nadia Trumpet in transposition kleine dramatische Burleske mit Texten von Heinrich v. Kleist Gabriel Santander für Sopran, Schalmei, Barocktrompete, Viola da Gamba und Gong SET UP SCHALMEI TROMPETE GAMBA TUNING: A = 440Hz for all. Trumpet is written in C flat transposition. Tuning of Gamba-Frets should be taken as reference until this A, for higher tones take the meantone tuning of Schalmei. Quarter-tones are to be found approximately half-way between the corresponding chromatic steps and should be unisono among all. SOPRAN TONBAND SCHALMEI / TROMPETE GONG Use a portable tape recorder * Metaformel 1: alternate grace note motives a, b, c (any order) with with a loud STOP button, scale fragments (any direction) in rhythmic groups of 4, 9, 2 (any order) record voice on tape once always legato and loud, fast tempo. A U D I E N C E context and timing are clear, * Metaformel 2: alternate grace note motives with rhythmic groups of non recording on several takes adjacent notes from scale, staccato / legato ad lib, fast tempo. GONG is possible as long as the * Metaformel 3: alternate grace note motives with isolated notes from scale final analog tape used for repeated in rhythmic groups of 8 / 6 or only once, always staccato, fast tempo. Gong hanging from frame, amplified through contact mic on performance is continuous. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Courtney Sullivan. the Evolution of the French Courtesan Novel: from Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016
Studies in 20th & 21st Century Literature Volume 42 Issue 2 Article 18 March 2018 Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Zoe Petropoulou St. John's University, [email protected] Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Petropoulou, Zoe (2018) "Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016.," Studies in 20th & 21st Century Literature: Vol. 42: Iss. 2, Article 18. https://doi.org/10.4148/2334-4415.2014 This Book Review is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. Abstract Review of Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Keywords courtesans, French literature This book review is available in Studies in 20th & 21st Century Literature: https://newprairiepress.org/sttcl/vol42/ iss2/18 Petropoulou: Review of The Evolution of the French Courtesan Novel Courtney Sullivan. The Evolution of the French Courtesan Novel: From Chabrillan to Colette. London: Palgrave Macmillan Publishers, 2016. ix +127pp. Sullivan’s first monograph focuses on the courtesan novels of Celeste de Chabrillan, Valtesse de la Bigne, Liane de Pougy, and Colette, who wrote during the mid-nineteenth century into the beginning of the twentieth. -
A BIOGRAPHY of JOSEPH MAURICE RAVEL by Matthew Dechirico
A BIOGRAPHY OF JOSEPH MAURICE RAVEL by Matthew DeChirico Joseph Maurice Ravel, who lived from March 1875 to December 1937 was a French composer born in the Basque region of France His mother of Basque-Spanish heritage from Madrid Spain had a strong influence on his life and his music. His father was a Swiss inventor and industrialist from France. Both parents provided a happy and stimulating life for Joseph and his younger brother. His parents encouraged his musical pursuits and sent him at age 14 to the Conservatoire de Paris first as a preparatory student and eventually as a piano major. Although intellectually bright and well read, he was not successful academically even as his musicianship matured. Considered “very gifted” he nevertheless was called “somewhat heedless” in his studies. He failed to meet the requirements of earning a competitive medal and was expelled. He returned three years later studying with Gabriel Faure focusing on composition rather than piano. He was again dismissed for having won neither the fugue nor the composition prize. He remained an auditor with Faure until he left the Conservatoire in 1903. During his years at the Conservatoire, Ravel tried numerous times to win the prestigious Prix de Rome but to no avail: he was probably considered too radical by the conservatives. Ravel’s “String Quartet in F” is now a standard work of chamber music, though at the time it was criticized and found lacking academically. His first significant work, “Habanera” for two pianos was later transcribed into the third movement of his “Rapsodie Espagnole”. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
The Truth About Bad Attitudes
12 STAFF MORALE EXCHANGE MARCH/APRIL 2011 Reprinted with permission from Exchange magazine. Visit us at www.ChildCareExchange.com or call (800) 221-2864. Multiple use copy agreement available for educators by request. The truth about bad attitudes by Gigi Schweikert The real deal Do you have a good attitude at itive attitudes fix things without the work? need to even draw attention to the issue Many people enter the early childhood or take credit. A person with a good atti- field because they enjoy working with Do you have a good attitude at work or tude saves the comments. Sure, they feel children. We’ll all agree that we love do you tend to grumble, complain, and frustrated, angry, and unappreciated at the children, and that may be where make unfavorable comments? A person times, but a person with a good attitude our complete agreement ends. Until we with a good attitude: moves past those feelings and keeps the spend time in the classroom, many of goal of caring for and educating young us don’t realize that the picture we n knows and expects that things won’t children in mind. Do you really have a painted in our heads of us working always go as planned. good attitude? independently with a group of cute, n accepts the situation as it is, but well-behaved kids isn’t the real works to improve it. Bad attitude don’ts scenario. Yes, the kids are cute! But n is generally happy, despite the unlike an elementary school teacher circumstances. We’ve talked about the traits of some- who usually teaches by herself in a self- n helps without being asked. -
MAURICE RAVEL Miroirs (“Mirrors”) Work Composed: 1904–05 in Contrast to the Voluptuous, Sens
MAURICE RAVEL Miroirs (“Mirrors”) Work composed: 1904–05 In contrast to the voluptuous, sensuous and intentionally ambiguous music of Debussy, Ravel’s compositions are precise, clear in design and economical in scoring. Nonetheless, the music of both composers — and many strikingly similar titles — clearly shares an overlapping sensibility and sense of fantasy. Ravel presented his freshly minted piano score Miroirs (“Mirrors”) to his inner circle of artist friends known collectively as the Apaches, dedicating each movement to a specific member of the tight-knit group. The five-part suite reflects the gauzy evanescence of Debussy’s impressionism while paying homage to Liszt’s pianistic pyrotechnics. The influence of Debussy is felt immediately in the first movement, Noctuelles (“Night moths”). Schumann and other composers have rhapsodized about butterflies but Ravel, who always maintained a fascination for the outré, obviously delighted in the intentional grotesqueries evoked in the music. Not coincidentally, he dedicated this piece to Léon-Paul Fargue, who authored this phrase: “The owlet-moths fly clumsily out of the old barn to drape themselves round other beams.” Rapidly scurrying passagework vividly portrays the rapidly changing flight patterns of the winged insects. In the second piece, Oiseaux tristes (“Sad Birds”), dedicated to pianist Ricardo Viñes, Ravel sought to evoke “birds lost in the torpor of a dark forest during the hottest hours of the summer,” or so the composer explained. Even so, the textures are more crisply chiseled than one might expect from the descriptive explanation. Unlike his latter compatriot, Messiaen, Ravel does not imitate bird-song but conveys an unmistakable avian aura. -
The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex. -
Ravel's Sound
Ravel’s Sound: Timbre and Orchestration in His Late Works Jennifer P. Beavers NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.beavers.php KEYWORDS: Ravel, timbre, contour, magical effect, illusory instruments, timbrally marked form, sound object, auditory scene analysis, Pictures at an Exhibition, Boléro, Menuet antique, Piano Concerto for the Left Hand, Piano Concerto in G Major ABSTRACT: Ravel’s interwar compositions and transcriptions reveal a sophisticated engagement with timbre and orchestration. Of interest is the way he uses timbre to connect and conceal passages in his music. In this article, I look at the way Ravel manipulates instrumental timbre to create sonic illusions that transform expectations, mark the form, and create meaning. I examine how he uses instrumental groupings to create distinct or blended auditory events, which I relate to musical structure. Using an aurally based analytical approach, I develop these descriptions of timbre and auditory scenes to interpret ways in which different timbre-spaces function. Through techniques such as timbral transformations, magical effects, and timbre and contour fusion, I examine the ways in which Ravel conjures sound objects in his music that are imaginary, transformative, or illusory. DOI: 10.30535/mto.27.1.0 Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory 1. Introduction [1.1] Throughout his career, Ravel’s sound often defied harmonic and formal expectations. While most analytic scholarship has treated Ravel’s use of timbre as secondary to the parameters of harmony and form, particularly in early- and middle-period compositions, recent scholarship has made timbre a central concern of Ravel’s style. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Face|Resection
Face|Resection by Matt Barbier cover design by DanRae Wilson Rage Thormbones Publication copyright 2015 Matt Barbier and Rage Thormbones Publications 1 This project exists because of the help, patience, and inspiration of many people. Primarily Nicholas Deyoe, Clint McCallum, Ian Carroll, Weston Olencki, New Music USA, and, most importantly, DanRae Wilson. This project is dedicated to y'all. Face Resection was supported by New Music USA, made possible by annual program support and/or endowment gifts from Helen F. Whitaker Fund, Aaron Copland Fund for Music 2 Table of Contents: Introduction 4 Chapter 1: Split-tone Basics 7 Section 1A: What is a split-tone? 8 Section 1B: Lip-slur and Over-focus 8 Section 2: Lip Bend 12 Chapter 2: Advanced Applications 14 Section 1: Circular breathing 16 Section 2: Articulations 18 Section 3: 2:1 Split-tones 23 Section 4: common tones, valve transitions, and valve trills 25 Chapter 3: Repertoire Applications 30 Section 1: Bach Cello Suites 31 Section 2: Nicholas Deyoe's facesplitter 35 Section 3: Clint McCallum's Bowel Resection Closing Appendix 1: Split-tone chart Appendix 2: Common-tone Split-tone chart Appendix 3: Repertoire 3 Introduction This publication is the result of an obsession that started during my time as a student at CalArts and has continued to grow both in the practice room and through composer-performer relationships. This edition focuses primarily on two solo trombone pieces entitled facesplitter, by Nicholas Deyoe, and Bowel Resection, by Clint McCallum. Both of these works existed before they arrived in my possession, but had never been performed. -
Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Writing and Modernity: Colette's Feminist Fiction. Lezlie Hart Stivale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stivale, Lezlie Hart, "Writing and Modernity: Colette's Feminist Fiction." (1991). LSU Historical Dissertations and Theses. 5211. https://digitalcommons.lsu.edu/gradschool_disstheses/5211 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.