Music Practice Commons^™

Highlights In Jazz Concert 312- We Call It Jazz, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, May 10th, 2012 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Michael Wolff, Harvie S, Victor Jones, Baby Jane Dexter, Christian McBride BIG BAND, Melissa Walker, Ben Williams, Zavier Davis, Steve Davis, James Burton, Michael Dease, Doug Purviance, Nebate Isles, Frank Groove, Frank Green, Freddie Hendrix, Brandon Lee, Carl Rigoli, Ron Blake, Loren Schoenberg, Steve Wilson, Todd Bashore, and special guest Russ Patterson.

Johannes Brahms, Vierzehn Deutsche Volkslieder, Woo 34, Nos. 1-14, An Arrangement, Transcription And Pedagogical Rationale For Wind Band, Robert Logan Biles

UNLV Theses, Dissertations, Professional Papers, and Capstones

This document illustrates how specific educational objectives can be met in the wind band rehearsal through the selection, transcription, and arrangement of the Vierzehn Deutsche Volkslieder, WoO 34, Nos. 1-14 by Johannes Brahms. It further defines the pedagogical appropriateness of these works and their transcriptions by outlining the educational goals that they accomplish.

The resulting wind band transcriptions and arrangements, for use at the secondary and post-secondary levels, are presented in two formats. The first is a convertible transcription where each instrumental part contains transpositions of all of the original vocal parts making it adaptable for various combinations of instruments. …

Highlights In Jazz Concert 311- Salute To Sonny Fortune, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, April 12th, 2012 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Sonny Fortune, Buster Williams, George Cables, Billy Hart, Eddie Henderson, Tessa Souter, and Gene Bertoncini.

Jean-François Beaudin: Borrowing From The Old World And The New, Wendell B. Dobbs

Music Faculty Research

The modern flute world is full of innovation. Every year brings a new assortment of changes intended to improve the design or functioning of the modern flute—a new head-joint or a new material, a design innovation such as the vertical flute or a new contrabass flute. Much more subtle are changes to the design of 18thcentury style flutes. Generally, modern makers of these instruments take careful measurements of particular antique flutes that are recognized for ease of playing and copy them. The innovations are most likely subtle—a new wood, gentle tweaking of the embouchure or a tone hole, or cosmetic …

"Performing Messiaen’S Organ Music: 66 Masterclasses" By Jon Gillock, Vincent P. Benitez

Performance Practice Review

Benitez reviews Gillock's 2010 work.

Gillock, Jon. Performing Messiaen’s Organ Music: 66 Masterclasses. Bloomington, IN:Indiana University Press, 2010.

ISBN 978-0-253-35373-3.

Highlights In Jazz Concert 310- Cabaret Jazz, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, March 8th, 2012 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Barbara Carroll, Jay Leonhart, Paula West, George Mesterhazy, Aaron Weinstein, Barak Mori, and surprise guest Tedd Firth.

"The Bartered Bride-Prodaná Nevěsta: Performance Guide With Translations And Pronunciation" By Timothy Cheek, John Tyrrell

Performance Practice Review

John Tyrrell discuss and reviews Timothy Cheek's 2010 work.

The Bartered Bride-Prodaná nevěsta: Performance Guide with Translations and Pronunciation. Lanham, MD: The Scarecrow Press, Inc., 2010.

ISBN 978-0-810-87260-8.

Highlights In Jazz Concert 309- Highlights In Jazz 39th Anniversary, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, February 9th, 2012 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Bucky Pizzarelli, Houston Person, Derek Smith, Nicki Parrott, Mickey Roker, Joe Alterman, Benny Benack, Steven Frieder, Alex Raderman, and surprise guest James Cammack.

Correspondence: June 23, 2010, Roland Jackson

Performance Practice Review

The recent article by Dorottya Fabian and Eitan Ornoy, “Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach” (PPR 2009)—which considers mainly the twentieth-century violinists Heifetz and Milstein (with reference as well to Szigeti, Menuhin, and others)—is unusual in that it generally avoids any discussion of Bach’s original performance practice. As the authors state at the outset, “when studying the performances, we are not concerned primarily with how they may relate to historically-informed performance and Bach’s intentions or presumed intentions.” In this they depart from all the studies that have appeared thus far in PPR from …

Correspondence: February 16, 2009, Ross W. Duffin

Performance Practice Review

Duffin responds to Rasch's review of his 2006 book.

"After The Golden Age: Romantic Pianism And Modern Performance" By Kenneth Hamilton, Robert Winter

Performance Practice Review

Winter reviews and critiques Hamilton's work.

"Interpreting Mozart: The Performance Practice Of His Piano Pieces And Other Compositions" By Eva Badura-Skoda And Paul Badura-Skoda, Andrew Willis

Performance Practice Review

Willis reviews and critiques Eva and Paul Badura-Skoda's 2009.

"Trills In The Bach Cello Suites" By Jerome Carrington, Marc Vanscheeuwijck

Performance Practice Review

Vanscheeuwijck reviews and critiques Carrington's work.

"Mendelssohn In Performance" By Siegwart Reichwald, David Montgomery

Performance Practice Review

Montgomery reviews and critiques Reichwald's work.

"The Rosary Cantoral: Ritual And Social Design In A Chantbook From Early Renaissance Toledo" By Lorenzo Candelaria, Kenneth Kreitner

Performance Practice Review

Kreitner reviews and critiques Candelaria's book.

"Performance Practice: Issues And Approaches" By Thomas Watkins, Roland Jackson

Performance Practice Review

Jackson discusses and critiques Watkin's book.

"Changing The Score: Arias, Prima Donnas, And The Authority Of Performance" By Hilary Poriss, Charles S. Brauner

Performance Practice Review

Brauner discusses and critiques Poriss' book.

Some Misconceptions About The Baroque Violin, Stewart Pollens

Performance Practice Review

Much has been written about the baroque violin, yet many misconceptions remain most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were narrower gauge and under lower tension...

What Can The Organ Partitura To Tomás Luis De Victoria’S Missae, Magnificat, Motecta, Psalmi Et Alia Quam Plurima Of 1600 Tell Us About Performance Practice?, Noel O'Regan

Performance Practice Review

Article written by Noel O'Regan

Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson

Performance Practice Review

Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it “unforgettable” and “almost unbearably intense.” Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a descending fourth, A – G – F – E, repeated throughout. How this line is to be interpreted has not been agreed upon among scholars or performers, despite its critical …