Tuesday, October 31, 2006
A theory professor fell asleep on the couch after a hard day at work. But nightmares about his students' sight singing exercises made him toss and turn, eventually causing him to roll off of the couch. He stood up and announced:
Mi Fa La Fa Sol Fa.
Monday, October 30, 2006
Saturday, October 28, 2006
Friday, October 27, 2006
La bella Franceschina King's Singers
La Bignani Giovanni Cavaccio
La bomba Mateo Flecha
La Création Du Monde, Op. 81 Milhaud
La Feliciana a 4 Adriano Banchieri
La Fiesta Chick Corea
La Fille Aux Cheveux De Lin Debussy
La Gentile a 4 Andrea Cima
La Guerre Clément Janequin & Philippe Verdelot
La Malvezza a 4 Antonio Mortaro
La Marchande de Fleurs Turina
La Mer Debussy
La Morari Giovanni Cavaccio
La morra Heinrich Isaac
La Novella Andrea Cima
La Réjouissance George Friedrich Handel
La Traviata - Variations Maurice André/Verdi
La Tricotea Samartin la vea King's Singers
La Vie En Rose Louis Armstrong/Mack David-Louiguy/Edith Piaf
La, la, la ie ne lose dire Pierre Certon
Tuesday, October 24, 2006
- Play the examples on the CDs while following the score excerpts. If CDs aren't provided, look in the well-stocked music library.
- Even better, play the examples on the piano or sing them.
- Then read the descriptions again, check to see if you understand.
- Work on the practice exercises and check your answers in the back of the book.
- Look up words you don't know in the glossary or in other reference books.
- Look up composers or pieces you don't know, listen to recordings and look at scores.
- Read the explanations in the beginning of the chapter, especially if you are struggling with the topic. (For the first-year students, that would be the Aural Skills book.)
- Don't wait for an invitation from the professor to read from the book. Read ahead, or behind, as your curiosity and/or confusion impell you.
- Also read the next chapter before the professor lectures on the topic, and then read it again after the lecture.
- Highlight, underline, or write in margins. It is your textbook, so don't be shy.
Monday, October 23, 2006
Friday, October 20, 2006
New Liebeslieder Waltzes, Op. 65 - 3. An Jeder Hand Die Finger - Brahms
"At the End of the Day" - Les Misérables Original Broadway Cast
Wissahickon poeTrees: 8.clocking Through Time - Jennifer Higdon
Capriccio Espagnol - Rimsky-Korsakov
The Creation: Day 5 - Haydn
Threnody to the Victims of Hiroshima - Penderecki
Concerto no. 3 in D: II. Vivace - Telemann (Hardenberger)
Ave verum corpus, K. 618 - Mozart
English Suite No. 6 in D minor: Double - J.S. Bach
Sonate: 2 Sostenuto e pesante - Bartók
Second, I take exception with Marc's description of the Third Symphony as being made of "lesser stuff." I spent a term at Lawrence University learning the details of this symphony from Alan Gimbel, learning about the connections to Nietzsche. The obvious link is with the lyrics in the fourth movement, the "Drunken Song" from Thus Spoke Zarathustra. But Gimbel entwined references to Wagner's Siegfried, Greek mythology, and earlier Mahler songs and symphonies with Schenkerian analysis to show that the whole symphony was a commentary on Zarathustra. This commentary is more deep than Strauss' tone poem, even if a major solo is given to the humble trombone.
Wednesday, October 18, 2006
I constructed this website for one purpose: to help high school students prepare for university music department auditions and placement examinations. If you’re exploring the possibility of majoring in music when you get to college, then you might be interested in this program.
I find it interesting that he includes a section on music careers. Many high school students and entering freshmen know very little of the options available, so it's nice that Ray has provided this information. Of course, his choices for careers to list is limited and a little odd.
Spiegelberg received a Bachelor of Music degree in trumpet and Bachelor of Arts degree in chemistry in a five-year program at Lawrence University. He then earned a Master of Music in brass performance from the University of Akron, and a Master of Arts in theory pedagogy and Ph.D. in music theory from the Eastman School of Music. His research interests are on the perception and cognition of music and theory pedagogy. He also performs the Renaissance cornetto and studies the history of trumpet articulation. He has presented at conferences of the Society for Music Theory, the Society for Music Perception and Cognition, Music Theory Society of New York State, and the 2005 Neuroscience and Music II conference in Leipzig, Germany. His reviews have been published in Empirical Musicology Review and Computer Music Journal. His blog, Musical Perceptions, receives over 100 readers each day.Update: My father pointed out the misleading nature of the stricken portion above, as I did not teach both subjects at all of the institutions listed.
Coordinator of the Music Theory program at DePauw, Spiegelberg has taught
theory and applied brassat Indiana University, the University of Minnesota, Valley City State University, Buffalo State College, the University of Akron, and the Eastman School of Music. He teaches courses on music theory, musicianship, the psychology of music, film music, and writing about music. Appointed 2002.
Sunday, October 15, 2006
Saturday, October 14, 2006
Friday, October 13, 2006
But what struck me about Kenneth's post was his insistence that there is only one correct sound: "You cannot put the sound of a Strad through an electronic circuit and have it emerge on the other end with equal clarity, detail and purity." Kenneth's stance seems to suggest there is an authentic acoustic sound, and an inauthentic amplified sound. ACD is more explicit: "Astonishing (and depressing) to tell, there's an entire generation walking about out there that imagines what they're hearing through their iPod headsets is what music — genuine music; classical music — really sounds, and ought to sound, like." This is what reminded me of the authenticity movement in HIP, judging all performances of 15th-19th century music on modern instruments to be inappropriate. In the same way, ACD and Kenneth have judged all amplified performances of classical music to be wrong. I can easily imagine a bad musical sound, whether caused by amplification or other sources. The awfulness of this sound may even be a self-evident truth, at least within a specific culture or subculture. But I could not call that sound "wrong" or "unauthentic." Just as I cannot justify condemning a process without considering the individual products (as far as I can tell, Kenneth and ACD have not heard a performance in an electroacoustically enhanced hall). I encourage people interested in how technology has changed musical performance to read Mark Katz's Capturing Sound.
Black Topaz - Joan Tower
Blue 93 - Arturo Sandoval
Blue Again - Louis Armstrong
Blue Bolivar Blues - Thelonious Monk
Blue Flame - Woody Herman
Blue In Green - Miles Davis
Blue Lou - Duke Ellington; Fletcher Henderson (2 versions)
Blue Reverie - Benny Goodman
Blue Rondo a la Turk - Dave Brubeck Quartet (2 versions)
Blue Room - Benny Goodman
Blue Skies - Benny Goodman
Blue Train - John Coltrane
Blueberry Hill - Louis Armstrong
Blues and Brewing - Woody Herman
Blues for Norman - Roy Eldridge, Dizzy Gillespie, and Clark Terry
Blues in B - Benny Goodman Sextet with Charlie Christian
Blues in C sharp minor - Teddy Wilson
Thursday, October 12, 2006
Lisa Moore refuses to perform from memory, as it requires more time to prepare. Eliane gave a specific number: memorized recitals take five times as much preparation as recitals with scores. I've never felt this, as I can memorize things very easily. The act of preparing a piece for a big performance lodges it in my memory, requiring no extra work to ensure it stays memorized. And some performances do suffer from the musician hiding behind the score. Lisa's recital tonight did not have this flaw. She was incredibly engaging. But at last night's recital, solo and duo piano works performed by Frederic and Eliane, I sometimes felt a disconnect as the performers stared intently at the scores. The moment that reconnected the audience and performer was created by Frederic improvising. And that brings us full-circle.
Wednesday, October 11, 2006
Tuesday, October 10, 2006
Monday, October 09, 2006
Sunday, October 08, 2006
In other news, I gave my first pre-concert lecture today, for a chamber recital celebrating the 150th anniversary of Robert Schumann's death.* It was fun, even if I did go 10 minutes too long. The performances were great: the Spanish Love Songs op. 138, the Fantasy Pieces op. 73 (for the original clarinet), and the fantastic piano quintet.
*Okay, the actual anniversary was on July 29, but that hasn't stopped all those Mozart celebrations after January 27 this year. And death anniversaries are a little morbid, aren't they?
Saturday, October 07, 2006
... a special screening of five newly-restored films by Adam Beckett (1950-1979) at REDCAT in Los Angeles on Sunday, October 8 at 2:00 P.M. Included on this program is the 1973 groundbreaking animation Heavy-Light for which I composed the score.
On Sunday, October 28, Footnotes Dance Theater will present work choreographed to my music as part of the 5 x 5 Dance Festival at the Carol Autorino Center at Saint Joseph College in West Hartford, CT. The 5 X 5 Dance Festival, one of the most distinctive presentations of dance in New England and this evening features performances by five different collegiate dance ensembles.
This year SCREAM (The Southern California Resource for Electro-Acoustic Music) celebrates its 20th anniversary. I started SCREAM as a consortium back in 1986, and it has since become a curated series. But this year we're bringing back all of the composers of the original consortium for a special SCREAM Reunion concert. This program will take place at the Los Angeles Harbor College Music Recital Hall on Saturday, November 4, at 8:00 P.M. As part of this celebration, I'll be premiering the solo electronic version of my work Wu Xing: Cycle of Destruction. Also on the concert will be live/electro-acoustic and studio works by Roger Bourland, David Bradfield, Tom Flaherty, Frederick Lesemann, Samuel Magrill, Rodney Oakes, and Mark Waldrep. Featured performers include violist Cynthia Fogg, oboist Richard Kravchak, clarinettist William Powell, and pianist Susan Svrcek.
On Thursday, November 9 at La Salle University in Philadelphia, there will be a special concert of electro-acoustic music inspired by plants. The Gardens of Cleito from Lost Atlantis will be presented as part of this event which takes place at 1:00 P.M. in Olney Hall 102.
Friday, October 06, 2006
How Do I Love Thee? - Edouard Lippe (Arleen Auger)
Why Shouldn't I? - Chet Baker
How Deep is the Ocean? - Irving Berlin (Coleman Hawkins)
¿De donde vienes, amor, mi niño? - George Crumb
Where Are You? - Dexter Gordon
Ist der Himmel darum in Lenz so blau? - Hans Pfitzner (Lucia Popp)
How Long Has This Been Going On? - George & Ira Gershwin (Sarah Vaughan)
What's That Spell? - Michael Daugherty (Dogs of Desire)
How Do I Love Thee? - Michael Daugherty (Paul Crossley)
Chi ne consola, ahi lassi? - Claudio Monteverdi
O galantuomo, come andò la caccia? - Puccini
Ov'è Angelotti? - Puccini
Sciarrone, che dice il Cavalier? - Puccini
Quanto? - Puccini
Chi è la? - Puccini [Scarpia asks a lot of questions in Tosca]
Mario Cavaradossi? - Puccini [finally someone else gets to ask a question]
Si Può? - Puccini [new opera, La Bohème]
Chi È La? - Puccini
Si Sente Meglio? - Puccini
Chi Guardi? - Puccini
Chi L'ha Richiesto? - Puccini
In Un Coupé? - Puccini
Was will die einsame Träne? - Robert Schumann (Ian Bostridge)
Ihr Tanzt? Was Werden Die Meister Sagen? - Richard Wagner
Thursday, October 05, 2006
The pitch charts described by Anne-Carolyn are a possible solution. An important step is to use a variety of different notes as pedals. This could be a fascinating way of analyzing a passage, as it can delve into all the possible ways of aurally comprehending the melody. I do think rhythms should not be left off, though. I would slow everything down so the majority of notes would be beats at about 60 bpm (slower for beginning students). But rhythm is so important in the character of a melody, especially in deciding which notes are resolutions, that I could not see doing away with it altogether, unless the student cannot proceed any other way. I will pass on this suggestion to my colleague who will be teaching Musicianship IV this spring, and see if she finds it useful.
Wednesday, October 04, 2006
A recent visitor to this humble site was looking for Music hand staff (do re me). I assume the reader was looking for Guido's hand, pictured above. This diagram shows how Guido d'Arezzo used his hand to guide singers in hearing and singing the correct pitches. It was the birth of solfège syllables, which were used properly as a movable system. (The picture isn't good quality here for some reason. Go here for a good picture.)
Tuesday, October 03, 2006
Monday, October 02, 2006
First Species: 1:1, all whole notes all the time. Only consonances are allowed (unisons, 3rds, 5ths, 6ths, octaves, and 10ths).
Second Species: 2:1, one voice is in half notes. Any dissonance must be a passing tone.
Third Species: 4:1, one voice is in quarter notes. Dissonances can be passing tones or neighboring tones.
Fourth Species: 2:1, sort of, really 1:1 but one voice is shifted by a half note, tied over the barline, until the cadence. All dissonances are suspensions.
Fifth Species: a mix of all the previous species, known as free counterpoint. This is the end result that is closest to actual 16th century music.
For more details, consult Gradus ad Parnassum.
Sunday, October 01, 2006
And Peretz fell victim to a common symptom in scholarship about music by scholars outside of the music field: citing Fred Lerdahl and Ray Jackendoff’s work in order to define key musical concepts. These two are well placed in the field (and in this issue of Cognition), but their ideas on tonal music are somewhat off-the-beaten-path, derived not from general consensus but from their A Generative Theory of Tonal Music, which has received a tepid response in the scholarly music community since it came out years back.Psychologists and cognitive scientists love Lerdahl and Jackendoff's work (abbreviated GTTM) because it makes testable claims about the perception of musical structure. Music theorists are disenthralled with GTTM because the same efforts that led to the testable claims prevented the authors from making any significantly new claims about the structure of music. The analytical method used in the book is thorough, but non-revelatory about interpretation. A good Schenkerian graph, neo-Riemannian analysis, or pc-set analysis will open up new ways to regard the music under investigation. The tree structure of GTTM codifies with little opportunity for illumination. Fred Lerdahl wrote an article in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition in which he argues that the same rules he and Jackendoff developed for GTTM should be considered by composers when they write new music. When he composes, Lerdahl wants all of his thoughts to be perceptually present in his music, so the audience can glean the same thoughts. Thus he has to make sure that his structures remain within cognitive limits. Again, I am not aware of this theory influencing composition pedagogy to any extent.
Back to Kris' point, I concur and highly encourage scientists to collaborate with theorists on these very important studies. It's time for cognitive experiments based upon the contemporary and influential theories of Lewin, Cohn, and Quinn, as well as the scale studies of Carey and Clampitt that Kris mentions. It will take more work to craft testable hypotheses, but the payoff will be research that is much more relevant to the music world. Read the rest of the excellent post and make your own comments.