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Charles Burkhart
Charles Burkhart is an American musicologist, theorist, composer, and pianist. He holds the title of Professor Emeritus in the Aaron Copland School of Music, Queens College, and the Graduate Center, City University of New York. He is known especially as a scholar in Schenkerian analysis and as a successful lecturer and master class presenter. Career Burkhart was a student of Felix Salzer. He holds a M.Mus. degree from Yale University. His M.A. thesis for Colorado College, written in 1952, concentrated on the musical culture of Old Order Amish and of Old Colony Mennonites. Among Burkhart's many students are Channan Willner, Stephen Lindeman, Stephen Slottow, Roy Nitzberg, William Renwick, and Gary S. Karpinski. Research Burkhart is known for work on the relations between Schenkerian readings, analysis of rhythm and meter, and implications for performance. Most of the compositions he discusses are for keyboard, especially Bach, Beethoven, and Chopin, but he has also written abo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicology
Musicology (from Greek μουσική ''mousikē'' 'music' and -λογια ''-logia'', 'domain of study') is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus (psychological, sociological, acoustical, neurological, computational). Some geographers and anthropologists have an interest in musicology so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist. Musicology traditionally is divided in three main branches: historical musicology, systematic musicology and ethnomusicology. Historical musicologists mostly study the history of the western classical music tradition, though the study of music history need not be limited to that. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory Online
''Music Theory Online'' is a quarterly peer-reviewed open access academic journal covering music theory and musical analysis, analysis. It was established in 1993 and is published by the Society for Music Theory. The initial issues were designated as part of volume 0. Volume 1 began in January 1995. Its founding editor-in-chief was Lee A. Rothfarb. The journal is abstracted and indexed in the Répertoire International de Littérature Musicale. External links * Music theory journals Publications established in 1993 English-language journals Open access journals Quarterly journals {{music-journal-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Review Of Religion, Politics, And Culture
A, or a, is the first letter and the first vowel of the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''a'' (pronounced ), plural ''aes''. It is similar in shape to the Ancient Greek letter alpha, from which it derives. The uppercase version consists of the two slanting sides of a triangle, crossed in the middle by a horizontal bar. The lowercase version can be written in two forms: the double-storey a and single-storey ɑ. The latter is commonly used in handwriting and fonts based on it, especially fonts intended to be read by children, and is also found in italic type. In English grammar, " a", and its variant " an", are indefinite articles. History The earliest certain ancestor of "A" is aleph (also written 'aleph), the first letter of the Phoenician alphabet, which consisted entirely of consonants (for that reason, it is also called an abjad to distinguish it f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Journal Of Music Theory Pedagogy
The ''Journal of Music Theory Pedagogy'' is an annual peer-reviewed academic journal covering the teaching and pedagogy of music theory and analysis. It was established in 1987 and is published under the auspices of The Gail Boyd de Stwolinski Center for Music Theory Pedagogy at the University of Oklahoma. The journal's founding editors-in-chief were James H. Faulconer, Alice M. Lanning, and Michael R. Rogers. Steven G. Laitz (Juilliard School The Juilliard School ( ) is a Private university, private performing arts music school, conservatory in New York City. Established in 1905, the school trains about 850 undergraduate and graduate students in dance, drama, and music. It is widely ...) is the Executive Editor. In 2010, a year before the journal's 25th anniversary, the editors secured funding for a website, ''Music Theory Pedagogy Online''. In 2013, the editors began publishing an online-only e-journal through the website, which provides resources for theory teachers. As of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Là Ci Darem La Mano
"" (Italian for "There we will give each other our hands") is a duet for the characters Don Giovanni ( baritone) and Zerlina ( soprano) in Mozart's 1787 opera '' Don Giovanni'' (act 1, scene 9). Text The duet, with words by Lorenzo Da Ponte, is sung during the first act of the opera. Don Giovanni has just met Zerlina and her betrothed, Masetto. In an attempt to distract Masetto and have him removed from the scene, Giovanni offers to host a wedding celebration for the couple at his castle. When Masetto has left, Giovanni attempts to seduce Zerlina to accompany him to his castle. However, after the end of the duet Donna Elvira arrives and thwarts the seduction, and leaves with Zerlina. Music "Là ci darem la mano", number 7 in the score, starts in the key of A major with a tempo indication of andante and a time signature of 2/4. The vocal range for Don Giovanni covers E3 to E4, Zerlina's range covers E4 to F5. The piece is labelled a "duettino", a "little duet". This may be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in music theory and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," ''Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the ''Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay preceding the yet-unborn Spring 1963 issue may reflect a scarcity of material up to their standard". However, as the journal's editorial "perspective" coalesced, Fromm became—in the words of David Gable—disenchanted with the "exclusive viewpoint hatcame to dominat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Five Pieces For Orchestra
The ''Five Pieces for Orchestra'' (''Fünf Orchesterstücke''), Op. 16, were composed by Arnold Schoenberg in 1909, and first performed in London in 1912. The titles of the pieces, reluctantly added by the composer after the work's completion upon the request of his publisher, are as follows: The ''Five Pieces'' further develop the notion of "total chromaticism" that Schoenberg introduced in his '' Three Piano Pieces'', Op. 11 (composed earlier that year) and were composed during a time of intense personal and artistic crisis for the composer, this being reflected in the tensions and, at times, extreme violence of the score, mirroring the expressionist movement of the time, in particular its preoccupation with the subconscious and burgeoning madness. Premiere The work had its world premiere in the Queen's Hall, London at a Promenade Concert on 3 September 1912, conducted by Sir Henry Wood, a constant champion of new music. During rehearsals for Schoenberg's suite he urged his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Farben Chord
In music, the Farben chord is a chord, in ascending order C–G–B–E–A, named after its use in ''Five Pieces for Orchestra'', Op.16, No. 3, "Farben" (German: "colors") by Arnold Schoenberg. Its unordered pitch-class content in normal form is 01348 (e.g., C–C–E–E–G), its Forte number is 5-z17,Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in ''Webern Studies'', edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, p.98n21. . in the taxonomy of Allen Forte. The identity of the Farben chord, however, depends on ordering of its pitches in a particular voicing. It is enharmonically equivalent to a minor/major ninth chord : A–C–E–G–B. According to Forte,Allen Forte, "The Golden Thread: Octatonic Music in Webern's Early Songs, with Certain Historical Reflections", in ''Webern Studies'', edited by Kathryn Bailey, pp.74–110. New York: Cambridge University Press, 1996, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Cathédrale Engloutie
"La cathédrale engloutie" (The Sunken Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. It was published in 1910 as the tenth prelude in Debussy's first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. Musical impressionism This prelude is an example of Debussy's musical impressionism in that it is a musical depiction of, or allusion to, an image or idea. Debussy quite often named his pieces in accordance with the image that he intended to evoke, such as in the case of '' La Mer'', "Des pas sur la neige", or " Jardins sous la pluie". In the case of the two volumes of preludes, he places the title of the piece at the end of the piece, either to allow the pianist to respond intuitively and individually to the music before finding out what Debussy intended the music to sound like, or to apply more ambiguity to the music's allusion. Because this piece is based on a legend, it can b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
19th-Century Music
''19th-Century Music'' is a triennial academic journal that "covers all aspects of Western art music composed in, leading to, or pointing beyond the "long century" extending roughly from the 1780s to the 1930s." The Journal is "interested equally in the music that belongs to the era and in the impact of the era's music on later times, media, and technologies." It is published by University of California Press and was established in 1977. The editor-in-chief is Lawrence Kramer. Abstracting and indexing The journal is indexed in: *Scopus *Arts and Humanities Citation Index *Current Contents/Arts & Humanities *EBSCO databases EBSCO Information Services, headquartered in Ipswich, Massachusetts, is a division of EBSCO Industries Inc., a private company headquartered in Birmingham, Alabama. EBSCO provides products and services to libraries of very many types around the ... * ProQuest databases References External links * Publications established in 1977 Triannual journals ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erlkönig (Schubert)
"Erlkönig", Op. 1, 328, is a '' Lied'' composed by Franz Schubert in 1815, which sets Johann Wolfgang von Goethe's poem of the same name. The singer takes the role of four characters — the narrator, a father, his small son, and the titular " Erlking", a supernatural creature who pursues the boy — each of whom exhibit different tessitura, harmonic and rhythmic characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century". Among Schubert's most famous works, the work has been arranged by various composers, such as Franz Liszt (solo piano) and Heinrich Wilhelm Ernst (solo violin); Hector Berlioz, Franz Liszt, and Max Reger have orchestrated the piece. History Goethe's poem was set in music by some hundred composers, including Johann Friedrich Reichardt, Carl Friedrich Zelter and Carl Loewe, thou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
