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The University Of Richmond Choir Europe In Retrospect, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Randolph C. Felts, Clarinetist: Senior Recital, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

[Guest Recital]: Thomas Warburton, Pianist, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Marian Ruhl, Organ, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Winter Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The Quarles Trio, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

[Faculty Recital]: Lindsey Peters, Soprano; John Mackay, Piano; Jack Jarrett, Piano, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Suzanne Kidd, Organist, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The University Choir, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The University Band, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The Play Of The Risen Christ, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The University Orchestra & The University Of Richmond Choir, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Philosophy And Explication Of An Honors Organ Recital, Bruce B. Stevens

Honors Theses

Franz Liszt is credited with the first application of the term "recital" to a performance of solo music: in 1840 he advertised a program of "recitals" of the piano of a number of pieces. Afterwards the word was appropriated for designation of the performance of a whole program, as opposed to the performance of an individual work. This is how it is used today --- the performance by one or two performers of a group of solo pieces

In forming and executing a recital the performer has the responsibility of planning intelligently as well as performing the music in the …

The French Organ And Organ Music Of The Late Seventeenth Century, And The Registration Practices Relating Them To Each Other, Bruce Borden Stevens

Honors Theses

An understanding of the great body of French organ music written in the second half of the seventeenth century requires an acquaintance both with the organs for which the compositions were written and with the registration practices current at the time. Standardization extended into the area of registration, for the organ composers gave numerous registration directions that reveal remarkable uniformity. This was a development not found in the equivalent, contemporary practice of other countries. It was made possible in France by the considerable stylistic similarities among the organ compositions of all the composers.

The University Chamber Orchestra And Choir, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

A Senior Honors Recital, Lynn Hoffman

Honors Theses

This paper is an examination of the pieces performed in a senior recital. A good performance cannot be given without a thorough understanding of the works being performed. Behind a finished recital lies not only hours of practice, but also hours of research and analysis.

In analyzing the Scarlatti sonata, I have used Kirkpatrick's terminology in referring to the form of the pieces. William S. Newman, author of The Sonata in the Baroque Era and The Sonata in the Classical Era also refers to Kirkpatrick's terminology.

In referring to specific measures and beats in a piece, I have used two …

John Calvin And Music: The Rise Of Protestant Psalters In The Sixteenth Century, Tim Montgomery

Honors Theses

John Calvin, born July 10, 1509 in the small town, Noyon, France, was the son of Gerard Calvin, who was the Apostolic Notary of the ecclesiastical court and the secretary of Bishop de Hangest. Calvin's mother, who died when he was young, was noted for her beauty and piety. As a child he went with her on her pilgrimages to view relics and kiss the bleeding wounds of statues. At the age of twelve he received the tonsure and became a chaplain in the Church.

Because the bishop saw that he had a brilliant mind, he arranged for John to …

The Chant-Based Polyphonic Magnificat Of Orlando Di Lasso, Lindsey Peters

Honors Theses

The polyphonic magnificat, according to Gustave Reese¹ one of the most widely used forms of composition during the Renaissance, has received relatively little attention from music scholars. Examples of this genre can be found among the works of nearly every leading composer of the Renaissance. Certain practices are characteristic of the genre. Some are the result of the nature of the chant structure. Others stem from the traditional practices in magnificat composition. I shall discuss several of these characteristics as demonstrated in the works of Orlando di Lasso.

Faculty Recital, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Erik Satie And His Influence On Music In France In The Twentieth Century, Lindsey Peters

Honors Theses

In nearly every period in musical history that is marked by dramatic change in thought and composition, there emerge figures whose contribution lies more in the philosophical and aesthetic influence than in the actual music they produced. It was true of the Florentine Camerata, whose influence did not reach musical fruition until Monteverdi. In late nineteenth and early twentieth century France, Erik Satie was a harbinger of directions French music was to take in the next fifty years. Although his music exhibits many advanced techniques, ideas revealed in Satie’s writings and conversations with artists of all media were influential in …

Luther The Musician, Charles L. Hill

Honors Theses

The chief contributions of Martin Luther to Western civilization are in the fields of theology and religious reform; but his influence upon, and even his direct contributions to, the development of music also are of considerable importance. Luther has established a place for himself in history as "the great German religious reformer who began the Protestant Reformation" (Brit., 436), but his abilities as a musician are often overlooked. That Luther had a great love for music is clear from a letter which he sent to Ludwig Senfl, the court musician at Munich, on October 4, 1530, in which he says: …

Use Of The Simultaneous Cross-Relation By Sixteenth Century English And Continental Composers, Tim Montgomery

Honors Theses

The principle of the simultaneous cross-relation in vocal music has generally and commonly been associated with the English composers of the sixteenth century. This assumption has been more specifically connected with secular music, namely the English madrigal. To find the validity of this assumption in relation to both secular and sacred music I have compared the available vocal music of three English composers, two major and one minor: Thomas Tallis (1505-1585), William Byrd (1543-1623), and Thomas Whythorne (1528-1596). In deciding whether the simultaneous cross-relation was an aspect of English music exclusively, I examined vocal music of three composers of the …

Winter Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Sunday Afternoon Concerts, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Some General Observations On Mass Composition In The Renaissance, Charles Lathan Hill

Honors Theses

As seen in the six Masses studied in this paper, the composition of a Mass presented a Renaissance composer with both problems and opportunities. Some of the problems encountered, as we have seen, were the clear declamation of the text, effective word-setting, the achievement of contrast and variety throught hte use of many devices, and an efffective means of unifying the work as a whole. The Mass cycle, in addition to enjoying veneration as a tradition, and depsite the problems which it held for a composer, offered him the chance to express himself and demonstrate his mastery of musical skills …

Sunday Afternoon Concerts, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The University Chamber Orchestra, The Westhampton College Glee Club & The University Men's Glee Club, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

The Passion Of Our Lord Jesus Christ According To The Evangelist Matthew, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Winter Concert, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Anton Heiller Organist, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.