A Farewell to the Avant-garde— Krzesany by Wojciech Kilar
... and Siwa mgła, joined such artists of considerable standing as Moniuszko, Nos kowski, Żeleński, Karłowicz, Paderewski, Szymanowski, Malawski. The landscape and the impressions made by it, as well as the folklore—these are essentially two different sources of inspiration whose effects may, but do no ...
... and Siwa mgła, joined such artists of considerable standing as Moniuszko, Nos kowski, Żeleński, Karłowicz, Paderewski, Szymanowski, Malawski. The landscape and the impressions made by it, as well as the folklore—these are essentially two different sources of inspiration whose effects may, but do no ...
Cross-cultural hybridity in music composition
... multiple and myriad ways in which they may come to have representative meaning in a cross-cultural context. It is difficult to say when a representation is taking place, and it may not necessarily correspond to the intention of the composer. Any number of features, especially in confluence, may sign ...
... multiple and myriad ways in which they may come to have representative meaning in a cross-cultural context. It is difficult to say when a representation is taking place, and it may not necessarily correspond to the intention of the composer. Any number of features, especially in confluence, may sign ...
also available on signumvision
... Sequialtera and multiple pitches in plenum combinations was clearly based on a knowledge of instruments such as this, where adherence to Adlung’s theories are necessary in order to achieve a reasonable balance. The various C Major preludes and fugue by Bach are identified by the names of their proba ...
... Sequialtera and multiple pitches in plenum combinations was clearly based on a knowledge of instruments such as this, where adherence to Adlung’s theories are necessary in order to achieve a reasonable balance. The various C Major preludes and fugue by Bach are identified by the names of their proba ...
The Development of the Keyboard Through the Grand Piano and Its
... clavichord was still based on the hexachordal ideas of Guido of Arezzo (Wier, 1941). The white keys of the keyboard, which are now made of ivory, were formerly composed of various types of lighter colored wood. Ebony or stained wood was used for the black keys (Wier, 1941). A more in depth descripti ...
... clavichord was still based on the hexachordal ideas of Guido of Arezzo (Wier, 1941). The white keys of the keyboard, which are now made of ivory, were formerly composed of various types of lighter colored wood. Ebony or stained wood was used for the black keys (Wier, 1941). A more in depth descripti ...
The Timpani and Their Performance (Fifteenth to Twentieth
... During the early baroque these cavalry timpani were dismounted and used for stationary music-making, for which purpose they were usually provided with low stands. A typical pair measured approximately 18 and 20 inches in diameter and from 11 to 15 inches deep, respectively. Producing less resonance ...
... During the early baroque these cavalry timpani were dismounted and used for stationary music-making, for which purpose they were usually provided with low stands. A typical pair measured approximately 18 and 20 inches in diameter and from 11 to 15 inches deep, respectively. Producing less resonance ...
(shorter list) Orchestra Terms
... "lowness" of a sound when compared with other notes. It can also indicate an absolute fixed ...
... "lowness" of a sound when compared with other notes. It can also indicate an absolute fixed ...
Analysis And Impact Of Selected Compositions That
... intervals. The point of tension is between the E4 in the canto and the D4 in the quinto. Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally co ...
... intervals. The point of tension is between the E4 in the canto and the D4 in the quinto. Unlike the previous examples, the dissonance is properly prepared with another D4 preparing the dissonant D4 which is resolved by descending down by step to a . This would be an example of a traditionally co ...
On the Slow Movement of Brahms`s F-Minor Clarinet Sonata
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
... factor that softens the sense of return in m. 49 is register: since each statement of the thirds-cycle brings the register successively lower, the clarinet’s melody in m. 49 is a full octave lower than its original presentation had been in the movement’s opening. This change of register, combined wi ...
A Companion to Recent Scottish Music: 1950 to the Present - n-ISM
... • It is a work that illustrates how subtly he has distilled the very essence of Scottish traditional music, culture, landscape, light and weather patterns into the fabric of his compositional technique; • It is also a work that enables us to view his music more generally in the context of some of ...
... • It is a work that illustrates how subtly he has distilled the very essence of Scottish traditional music, culture, landscape, light and weather patterns into the fabric of his compositional technique; • It is also a work that enables us to view his music more generally in the context of some of ...
Go for Baroque
... 1. Opposites attract: Baroque music was full of sharp contrasts. The music associated with this period in history appealed to the emotions and was usually created to express a particular mood. The elements were arranged in a way to give the impression of conflict. Dynamics were introduced to help e ...
... 1. Opposites attract: Baroque music was full of sharp contrasts. The music associated with this period in history appealed to the emotions and was usually created to express a particular mood. The elements were arranged in a way to give the impression of conflict. Dynamics were introduced to help e ...
to the PDF file. - Svenska samfundet för musikforskning
... 1902 he received permission from the Swedish King Oscar to translate some of his poetry into French and publish it. While it is not clear whose idea this was, Auguste Hagborg would illustrate it and very famous French writers would participate – Jules Clarétie with a preface and recent Nobel laureat ...
... 1902 he received permission from the Swedish King Oscar to translate some of his poetry into French and publish it. While it is not clear whose idea this was, Auguste Hagborg would illustrate it and very famous French writers would participate – Jules Clarétie with a preface and recent Nobel laureat ...
Program Notes - University of Chicago Presents
... Perhaps the last treble-ground duet to be written in this period was John Danyel’s Passingmeasures Galliard, and no other duet surpasses it in style or imagination. Like Johnson’s most virtuosic duets, this set of variations uses the complete range of the lute, which, in this case, is three and a ha ...
... Perhaps the last treble-ground duet to be written in this period was John Danyel’s Passingmeasures Galliard, and no other duet surpasses it in style or imagination. Like Johnson’s most virtuosic duets, this set of variations uses the complete range of the lute, which, in this case, is three and a ha ...
Beyer Clarinet Suites
... is impossible to speculate about what her earlier work, prior to meeting the Seegers and Cowell, might have been like. These two clarinet suites are perhaps Beyer’s earliest extant works, and strongly show the influence of Charles and Ruth Crawford Seeger in the exploration of dissonant counterpoint ...
... is impossible to speculate about what her earlier work, prior to meeting the Seegers and Cowell, might have been like. These two clarinet suites are perhaps Beyer’s earliest extant works, and strongly show the influence of Charles and Ruth Crawford Seeger in the exploration of dissonant counterpoint ...
Instrumentation_and_Orchestration_in_Aar
... (or chamber version) and “symphonic” scores of Aaron Copland’s Appalachian Spring Suite. While it is commonly known that Copland composed Appalachian Spring as a ballet, a brief history of the commission and composition will assist in understanding the journey to the two scores being studied in this ...
... (or chamber version) and “symphonic” scores of Aaron Copland’s Appalachian Spring Suite. While it is commonly known that Copland composed Appalachian Spring as a ballet, a brief history of the commission and composition will assist in understanding the journey to the two scores being studied in this ...
Musical dramaturgy in Jeux d`eau by Maurice Ravel
... 4. Conclusions In the history of music there was a time when the compositional styles of Ravel and Debussy were frequently thought to be similar. Moreover, it has been said that Jeux d’eau was inspired by Liszt’s piece. Inevitably, any creator has his or her sources of inspiration, but it is clear t ...
... 4. Conclusions In the history of music there was a time when the compositional styles of Ravel and Debussy were frequently thought to be similar. Moreover, it has been said that Jeux d’eau was inspired by Liszt’s piece. Inevitably, any creator has his or her sources of inspiration, but it is clear t ...
Dynamics and expressive techniques
... s The Baroque period (about 1600 to 1750) saw the beginning of the use of dynamics in music, but only in terms of loud and soft. This is sometimes called terraced dynamics, meaning there are no gradations between the two volume levels we hear, loud and soft. Terraced dynamics are a distinct feature ...
... s The Baroque period (about 1600 to 1750) saw the beginning of the use of dynamics in music, but only in terms of loud and soft. This is sometimes called terraced dynamics, meaning there are no gradations between the two volume levels we hear, loud and soft. Terraced dynamics are a distinct feature ...
Lesson_LLL_-_Mixture..
... cases of mixture are employed strictly for color, variation, and drama. The term mixture is also expanded to include similar instances of chromatic pitches including those in double mixture chords and the Neapolitan. Mixture can have an effect on larger spans of music as well. It can initiate modula ...
... cases of mixture are employed strictly for color, variation, and drama. The term mixture is also expanded to include similar instances of chromatic pitches including those in double mixture chords and the Neapolitan. Mixture can have an effect on larger spans of music as well. It can initiate modula ...
Lesson_SSS_-_Diatoni..
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
... Following an authentic cadence in m. 5, we find a series of chords descending by fifths. Comparing m. 6 with mm. 7-8, we find a repeated pattern in each measure, the only differences being the pitch level of each repetition. In the highest voice, the pattern begins on F in m. 6, and then repeats on ...
Symphony and symphonic thinking in Polish music after
... I could not have written this thesis without the help, support and encouragement of many colleagues and friends. First and foremost, I would like to acknowledge my supervisor at Cardiff University, Professor Adrian Thomas, whose vast knowledge, profound interest in Polish music and attention to deta ...
... I could not have written this thesis without the help, support and encouragement of many colleagues and friends. First and foremost, I would like to acknowledge my supervisor at Cardiff University, Professor Adrian Thomas, whose vast knowledge, profound interest in Polish music and attention to deta ...
Using Whole Tone Scales in Improvisation
... In the notes of this series the focus will be on bridging the gap between musical theory and practice. The target audience is the jazz performer who reads music and has a good understanding of chord progressions and traditional harmony. ...
... In the notes of this series the focus will be on bridging the gap between musical theory and practice. The target audience is the jazz performer who reads music and has a good understanding of chord progressions and traditional harmony. ...
Symphony no. 26 in D Minor, `Lamentatione`: Movement I Haydn
... *Later you may like to read Appendix A at the end of this article. The symphony dates from 1770 or a few years earlier. It is one of several from that time with characteristics of the Sturm und Drang style. Sturm und Drang was an artistic movement in Germany in all the arts, which climaxed in the 17 ...
... *Later you may like to read Appendix A at the end of this article. The symphony dates from 1770 or a few years earlier. It is one of several from that time with characteristics of the Sturm und Drang style. Sturm und Drang was an artistic movement in Germany in all the arts, which climaxed in the 17 ...
Absolute pitch
... piano keys than for black (Miyazaki, 1989–90; Takeuchi and Hulse, 1991), presumably because white keys occur more often in piano music and have simpler labels (see Rosch, 1975). Similarly, piece-AP relies on repeated exposure to pieces played in the same key. Tone-AP may also be ‘unlearnt’ during mu ...
... piano keys than for black (Miyazaki, 1989–90; Takeuchi and Hulse, 1991), presumably because white keys occur more often in piano music and have simpler labels (see Rosch, 1975). Similarly, piece-AP relies on repeated exposure to pieces played in the same key. Tone-AP may also be ‘unlearnt’ during mu ...
About the Program
... instrument and ones that only a great clarinetist can perform well. It is also of note that these defining attributes would have been much more difficult if not impossible, without the previously discussed advancement of clarinet technology. Though he had composed plenty, and with much success, in h ...
... instrument and ones that only a great clarinetist can perform well. It is also of note that these defining attributes would have been much more difficult if not impossible, without the previously discussed advancement of clarinet technology. Though he had composed plenty, and with much success, in h ...
Kit and method for learning to play an instrument
... symbol called a clef at the left-hand side of the staff. [0038] The vertical position of the notehead on the staff indicates Which note is to be played: notes that are higher in pitch are marked higher up on the staff. The notehead can be placed With the center of its notehead intersecting a line (o ...
... symbol called a clef at the left-hand side of the staff. [0038] The vertical position of the notehead on the staff indicates Which note is to be played: notes that are higher in pitch are marked higher up on the staff. The notehead can be placed With the center of its notehead intersecting a line (o ...
Lament and Unification in György Ligeti`s Horn Trio
... inverted form of the lamento motive in m. 30. In m. 34, the left-‐hand of the piano takes the lament motive up to octaves six and seven. Through expanding the total range of the piano part ...
... inverted form of the lamento motive in m. 30. In m. 34, the left-‐hand of the piano takes the lament motive up to octaves six and seven. Through expanding the total range of the piano part ...