Arts and Humanities Commons^™

Performance Practice Versus Performance Analysis: Why Should Performers Study Performance, José Antonio Bowen

Performance Practice Review

RILM abstract: "The descriptive study of performance analysis and performance history differs from the usually prescriptive field of performance practice. The investigation of musical performance can be divided into three layers: general period and geographic styles, the traditions which become attached to specific works, and individual innovations. Features of the first two are transparent to performers and listeners from the same period, but they determine most of the features of a performance. Performance style is like a linguistic accent; we can no more let the music speak for itself than we can speak words without some accent. Since performance traditions …

Cover/Table Of Contents

Performance Practice Review

Front matter and Table of Contents from the Spring 1996 (9/1) issue of Performance Practice Review.

Invoking A Past Or Imposing A Present? Two Views Of Performance Practice, Roland Jackson

Performance Practice Review

RILM abstract: "Richard Taruskin has characterized performance practice or historical performance as not truly historical, but rather as a reflection of a mid-20th-c. Zeitgeist dominated by Stravinsky. In contrast with this presentist view, wherein spontaneous performance, the act, is deemed the highest value, the historicist view affirms that music (along with art works generally) is endowed with a quality of permanent value independent of how it was regarded in its own time or how people react to it now. Historicist performance practice holds that a composer's intention (the autonomous work) is rediscoverable, at least in part, and that the manner …

"Ornamental" Neumes And Early Notation, Timothy J. Mcgee

Performance Practice Review

RILM abstract: "A comparison of the "ornamental" neumes in the earliest notation with theoretical statements about their execution shows a close relationship between the shape of the neumes and the intended sound. This suggests that one of the primary purposes of the earliest notation was to transmit information about the performance of vocal gestures and nuances that were unfamiliar to the northern Europeans."

The Application Of (Ornamental) Strokes In English Virginalist Music: A Brief Chronological Survey, Desmond Hunter

Performance Practice Review

RILM abstract: The English virginalists from 1530 to 1650 used signs in the form of an oblique stroke through the note stem to indicate a grace. The single stroke does not appear to have been used as a grace sign until around 1570 and was used frequently only after the later 17th c. The double stroke appears often; 16th-c. English keyboard music sources imply that it was realized with a form of shake. The triple stroke was used only in a small number of sources including 16th- and 17th-c. MSS. The sometimes idiosyncratic usage of signs suggests that composers and …

Some Thoughts Concerning The Effects Of Tuning On Selected Musical Works (From Landini To Bach), Mark Lindley

Performance Practice Review

RILM abstract: "The type of tuning system in use during any particular period in history sometimes had a profound influence on the musical works produced. The impure intervals of the Pythagorean, quasi-Pythagorean, and later meantone temperaments might well have been used and heard as dissonances in certain contexts. Composers such as Louis Couperin, Francois and Bach exploited the distinctive tonal colors of different keys arising from the French and German irregular temperaments. However, systematically varied intervallic nuances for different keys were not a characteristic feature of the music for Baroque fretted instruments; for these works, equal temperament was the norm."

Communications And Corrections

Performance Practice Review

End matter and Advertisements from the Spring 1996 (9/1) issue of Performance Practice Review.

So, We'll Go No More A-Roving | 11-20115, James Q. Mulholland

Music Faculty Scores

So, We'll Go No More A-Roving

Part Number:
11-20115

Price:
$1.75

Voicing:
SATB

Lyrics By:
Lord Byron

Music By:
James Q. Mulholland

for this setting a cappella, see 10-96100

Widmung | 20-96880, James Q. Mulholland

Music Faculty Scores

Widmung (Dedication)

Part Number: 20-96880

Price: $1.75

Voicing: SA

Music By: Robert Schumann

Arranged By: James Q. Mulholland

Winter Is Past,The | 10-96940, James Q. Mulholland

Music Faculty Scores

The Winter is Past, From "More Burns Ballads"

Part Number:
10-96940

Price:
$1.80

Voicing:
SATB

Lyrics By:
Robert Burns

Music By:
James Q. Mulholland

Commissioned by the Camerata Singers of West Michigan
For their 20th Anniversary Season

Overture To Die Zauberflöte | 21-20239, Arkadi Serper

Music Faculty Scores

From "The Magic Flute

Part Number:
21-20239

Previous Part Number:
HL-239

Price:
$1.90

Music By:
W.A. Mozart

Arranged By:
Arkadi Serper

Voicing:
SSAA

a cappella

Debussy, Bartok, And The Golden Section, Anthony Bushard

Honors Theses, 1963-2015

The purpose of the thesis was to 1. Show how each of these composers used the Golden Section in their work and 2. That these composers were indeed conscious of the decision to use the Golden Section in their pieces. This was shown by an analysis of selected piano pieces from each composer. They were `Reflets dans l'eau' and `Clair de lune' by Claude Debussy and `Sonata for Two Pianos and Percussion' by Bela Bartok. Each of these pieces used the Golden Section in such a way that the outcome of the piece, in each case, depended on how the …

Mla Reports: Pre-Conference On Conservation, And A Report On The Conference, Lisa Rae Philpott

Western Libraries Publications

Report of the Music Library Association's 65th Annual meeting, held at the Seattle Westin, February 5-1 1, 1996. The pre-conference Conservation Workshop, offered by Ted Honea of Sibley Library was invaluable and informative. Gerard Schwarz, Music Director of the Seattle Symphony Orchestra since 1983, described his indebtedness to music libraries, and how he devises programmes for the SSO. Other topics included: Brahmsiana; Managing Difficult People; Managing Technology; Teaching the 'Net; the Selling of Seattle Through Song; and Handel's Relationship with his Publishers. And, the Eastman School/Sibley Library has recently received the Alexander Courage Collection (source materials, sketches, and movie scores, …

Creativity, Imagination And The Mind Of The Musician, Sarah Kropp

Honors Theses, 1963-2015

No abstract provided.

The History Of The Clarinet, Georg Klaas

Honors Theses, 1963-2015

In my written thesis, I traced the evolution of the clarinet over roughly a three hundred year period (from c. 1700 to modern times). For the first 100 years of its existence, the clarinet received relatively little improvement, but it nonetheless (by the end of the 18th) century gained a prominent role in orchestras throughout Europe. The 19th century saw the most significant advances in clarinet design and construction. Through the efforts of innovators such as Iwan Muller, Carl Baermann, Hyacinth Klose, and Oskar Oehler, the clarinet was evolved to a form in which was little different from the clarinets …

The Divine Madness: A Comedic Theater Piece For Six Players In Five Scenes, Randall Snyder

Randall Snyder Compositions

The Players (in order of appearance)

a middle-aged composer, dressed in 19th century costume
an impresario, speaks with W.C.Fields accent, dressed in a Dickensian style
the cast (chorus) of the Willy-Nilly Traveling Opera-Circus Troupe:
a flamboyant soprano, an aging diva, colorfully dressed
an alto, a timid musicologist, dressed as a college co-ed
a tenor, a jazzer, dressed in a pin-striped zoot suit, wearing sun-glasses
a bass, a bitter old man, speaks with a German accent, wearing shabby clothes
stage audience including a critic, and crew

Place

Five days in the present sets a garret and the backstage of a theater …

Letter To The Editor, Victor Fell Yellin

Verdi Forum

No abstract provided.

Abstract: Verdi's Ternary Structures In Les Vêpres Siciliennes, James Hepokoski

Verdi Forum

No abstract provided.

George W. Martin's Verdi Collection At The Pierpont Morgan Library, J. Rigbie Turner

Verdi Forum

No abstract provided.

Poetic Prosody And Melodic Rhythm In 'Les Vêpres Siciliennes', Jeffrey Langford

Verdi Forum

No abstract provided.

Concert Recording 1996-03-29, Nancy Weems

Concert Recordings & Programs

Partita no. 2 in D minor for solo violin, BWV 1004. Chaconne / J.S. Bach -- Grand valse brillante in A♭ major, op. 34, no. 1 ; Nocturne in F major, op. 15, no. 1 / Frederic Chopin;Impromptu in G♭ major, op. 51 Polonaise-Fantasie in A♭ major, op. 61 / Frederic Chopin -- Annees de Pelerinage, Deuxieme annee. Sonnetto 104 del Petrarca / Franz Liszt;Sonata in D minor, op. 14 / Sergei Prokofiev

Graduate Recital In Voice, April 16, 1996, Christine Bergan

Dissertations and Theses @ UNI

This abstract will discuss the literature performed during the Graduate Recital in Voice of Christine Bergan, given on Tuesday, April 16, 1996. The selections are from many historical periods of music composition, from Baroque to Twentieth-Century, from Scarlatti to Menotti, and contain quite a variety of representative styles in between these two extremes. This abstract will include information about the composers represented, some of their general compositional stylistic traits, and a discussion of the specific pieces performed.

Graduate Recital In Voice, June 12, 1996, Rae-Myra Hilliard

Dissertations and Theses @ UNI

Rae-Myra Hilliard, soprano, presented her graduate voice recital on April ·1, 1996, at 8:00 p.m. in Russell Hall Auditorium in partial fulfillment of the requirements for the Master of Music degree. Joan Smalley assisted as the collaborative pianist. The following is an abstract of this recital in the order of performance.

Concert Recording 1996-11-18, Gerald Sloan, Mary Ann Miller

Concert Recordings & Programs

Two songs / Robert Spillman -- Dialogue pour trombone basse et piano, op. 100 / Henri Martelli -- Concert allegro (1962) / A. Lebedev -- Nocturne for bass trombone and tape / James Greeson;Sonata for bass trombone and piano / Patrick McCarty -- Candide. Make our garden grow / Leonard Bernstein

The Gretsch House Telegram, A Publication For Gretsch Guitar Dealers…And Fans Of The Great Gretsch Sound, Gretsch Company

Gretsch Company Newsletters

No abstract provided.

Concert Recording 1996-04-14, Janice Yoes, Theresa Delaplain, Claire Detels, Jonathan Aceto, Stephen Gates, Danielle Teel, Robert Mueller

Concert Recordings & Programs

Matthaus Passion. Wie wohl mein Herz in Tranen schwimmt ; Cantata no. 187. Gott versorget alles Leben ; Cantata no. 21. Seufzer, Tranen, Kummer, Not / Johann S. Bach;Cantata no. 84. Ich esse mit Freuden / Johann S. Bach -- Sonata in F major / George Frederick Handel -- Five songs of winter / Robert Mueller

Concert Programs 1996-1997, University Of Arkansas, Fayetteville. Department Of Music

Concert Recordings & Programs

This is the annual compilation of music programs from the Department of Music for the time period indicated

Concert Recording 1996-11-13, Gerald Sloan, Robert Mueller, University Of Arkansas, Fayetteville. Trombone Ensemble

Concert Recordings & Programs

Ricercar / Irvin Wagner -- National Anthem -- Three equali / L. v Beethoven -- Magic Flute. Sarastro aria and chorus / W.A. Mozart -- Sonata for four trombones / Daniel Speer -- Elegy / Philip Watts;Farm girl / Tommy Pederson -- Just Bach / Paul Tanner -- Scarborough fair / arr. Bill Reichenbach -- Canzon per 8 tromboni / Tiburtio Massaino

Concert Recording 1996-04-18, University Of Arkansas Fayetteville. Collegium Musicum, St. Joseph Catholic Church. Gregorian Schola

Concert Recordings & Programs

Gregorian chant "Resurrexi et adhob tecum sum, alleluia" -- Gregorian chant "Vidi aquam -- Palestrina "Kyrie eleison -- Palestrina "Gloria in excelsis Deo" -- Gregorian chant "Haec Dies" -- Gregorian chant "Alleluia, Pascha Nostrum" -- Gregorian chant "Victimae Paschali laudes" -- Palestrina "Credo" -- Gregorian chant "Terra tremuit -- Palestrina "Sanctus" -- Palestrina "Agnus Dei" -- Gregorian chant "Pascha Nostrum Immolatus Est"

Concert Recording 1996-10-23, Gerald Sloan, Kabin Thomas, Beth Chouinard, James Allen, University Of Arkansas, Fayetteville. Tuba Ensemble, University Of Arkansas, Fayetteville. Trombone Choir

Concert Recordings & Programs

La Peri. Fanfare / Paul Dukas -- Ecco Mormorar l'onde / Claudio Monteverdi -- Lost chord / Arthur sullivan -- Entrance of the gladiators / Julius Fucik -- Contrapunctus no. 1 / J.S. Bach -- Deep River;Feasting I watch / Edward Elgar -- De profundis / Robert Mueller