Open Access. Powered by Scholars. Published by Universities.®
- Keyword
Articles 1 - 4 of 4
Full-Text Articles in Education
Igor Stravinsky (Primitivism & Cubism), Dan Rager
Igor Stravinsky (Primitivism & Cubism), Dan Rager
Dan Rager
Igor Stravinsky (June 17, 1882/April 6, 1971)
His works defined and incorporated the elements of Primitivism & Cubism. This short lecture discusses these principles through the following works and much more.
The Rite of Spring and The Firebird. Video example/performances bring to life this 20th century period of extremism . You are free to use and incorporate this information into your classroom courses.
In Search Of The Wind-Band (Video Trailer) Book Video Excerpts From Around The Globe, Dan Rager
In Search Of The Wind-Band (Video Trailer) Book Video Excerpts From Around The Globe, Dan Rager
Dan Rager
“International Instrumental Dissemination” describes instrument types in 16 countries that include Rock & Roll to Sousa and Puccini. This book explores detailed and precise history. The 21 chapters contain hundreds of photos, videos, mp3 and pdf files bringing to life unknown cultures and ensembles from around the globe from which I visited and recorded first hand. The book is designed to take an entire semester to study and explore. I promise you have never heard or seen most of these groups much less the enormous, precise evolution of instruments presented in the book. Where did our modern instruments evolve from? …
Robert Schumann "Novellette" Opus 21- No. 1 / Full Piano Score (Part 2), Dan Rager
Robert Schumann "Novellette" Opus 21- No. 1 / Full Piano Score (Part 2), Dan Rager
Dan Rager
Full piano score to Robert Schumann’s "Novellette in F Major", Op. 21 no. 1. Find complete analysis of it in "Part 1".
The Band Came Back (Sousa -1895/Clarke - 1926/Rager - 2016), Dan Rager
The Band Came Back (Sousa -1895/Clarke - 1926/Rager - 2016), Dan Rager
Dan Rager
PowerPoint Presentation:
The Band Came Back: For lack of a better description, this music was billed as a “fantastic episode.” To catch the audience by surprise it was always programmed by Sousa as the first piece after an intermission. The house lights were turned off, revealing an empty stage. Slowly and deliberately, the musicians entered, playing singly, in pairs, trios or quartets. Each played some popular tune upon entering, sometimes with an accompaniment provided by musicians already onstage. Only after all of his players had entered and were seated did Sousa make his appearance, conducting only the last note. Although …