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Coplas is a composition for alto saxophone, accordion and vibraphone, based on the poems by Garcilaso de la Vega, a Spanish poet who wrote these poems, "Coplas" to the death of his father. So I did the same with music, to the death of my father.This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library with Bent Frequency and Jan Berry Baker.

This piece was premiered by Vent Nouveau in NYC. Versions are also available for clarinet, cello and piano; oboe, bassoon and piano; and for viola, cello and piano.

"William Byrd: Consort Music" by Anne Martin is a comprehensive analysis of Byrd's thirty-three textless consort compositions, a category of instrumental music often overlooked in Byrd scholarship. The book discusses the sources, genres, and historical context of these compositions, making it a valuable resource for viol players, performers interested in early instrumental music, and those studying Byrd's music. The book fills a gap in Byrd scholarship and offers new perspectives on the renowned English composer. Additionally, the volume consists of twenty-eight essays organized into five parts, with a central theme of the relationship between music and poetry. Despite the diverse contributions, the book maintains a cohesive structure and explores common themes and motifs, providing valuable insights into nineteenth-century music. [Extracted from the article]

This paper introduces a ranking and selection approach to psychoacoustic and psychophysical experimentation, with the aim of identifying top-ranking samples in listening experiments with minimal pairwise comparisons. We draw inspiration from sports tournament designs and propose to adopt modified knockout (KO) tournaments. Two variants of modified KO tournaments are described, which adapt the tree selection sorting algorithm and the replacement selection algorithm known from computer science. To validate the proposed method, a listening experiment is conducted, where binaural renderings of seven chamber music halls are compared regarding loudness and reverberance. The rankings obtained by the modified KO tournament method are compared to those obtained from a traditional round-robin (RR) design, where all possible pairs are compared. Moreover, the paper presents simulations to illustrate the method's robustness when choosing different parameters and assuming different underlying data distributions. The study's findings demonstrate that modified KO tournaments are more efficient than full RR designs in terms of the number of comparisons required for identifying the top ranking samples. Thus, they provide a promising alternative for this task. We offer an open-source implementation so that researchers can easily integrate KO designs into their studies. [ABSTRACT FROM AUTHOR]

Ferenc Farkas, a remarkable twentieth-century Hungarian composer, was one of the most influential professors of composition throughout the history of the Liszt Academy of Music, Budapest. A less known chapter of his life is his involvement in the ethnicist and anti-Semitic political movements of Hungary, during the late 1930s and early 1940s. In 1940, he was among three musicians who elaborated a proposal to establish, in line with the rise of corporatism, a Hungarian Music Chamber. One of the main aims of the new organization would have been a total exclusion of Jewish musicians from all branches of Hungarian musical culture. The Chamber was never actually founded. In 1941, Farkas left Budapest for the Transylvanian city Kolozsvár (Cluj), where he was appointed professor of composition at the Conservatory. One of his first students was György Ligeti, a native Transylvanian, born into a Hungarian family suffering under the anti-Semitic legislation of the Hungarian state. As Ligeti recollected, Farkas "wanted to teach me everything he had learned from his teacher Ottorino Respighi." Based on archival sources, this study offers new insights into the personal and professional connection between Ligeti and Farkas during the 1940s, and also follows Farkas's post-war path from relative isolation and marginalization to the elite of state socialist music culture. [ABSTRACT FROM AUTHOR]

The given text is a review of two music-related books. The first book, "William Byrd: Consort Music," is praised for its analysis and informational details on the music of William Byrd, filling a gap in Byrd scholarship. The second book, "Music, a Connected Art: Die Illusion der Absoluten Musik; A Festschrift for Jürgen Thym on His 80th Birthday," is a collection of essays and tributes in honor of Jürgen Thym, a German musicologist. The review highlights the diverse themes and perspectives covered in the book, including music and poetry, music theater, and individual composers. [Extracted from the article]

My String Quartet no. II was written in 2012 in Cape Town, South Africa. The work has been performed several times to very positive critical acclaim. The work enjoys its poularity by being accessible to wider audiences, although it is purely neo-tonal Western art music.

The article discusses the changes in musical and devotional practices in northern Europe during the 16th and 17th centuries. It highlights the efforts of Protestant and Catholic reformers to meet the expectations of reformed theologies and the relationship between text and performance. The article reviews six albums that showcase the musical-liturgical reforms of this period, including recordings of pre-Reformation Catholic liturgical set-pieces, Danish Lutheran hymns, Thomas Weelkes's anthems, and English consort music by John Dowland and William Byrd. The albums provide valuable insights into the diverse musical developments of this era. [Extracted from the article]

In the field of chamber music, Haendel is known for his six Sonatas for violin and basso continuo op. 1, creations that have kept a well-deserved place in the violin repertoire, being approached mainly for their melodic cantability, the clarity of the formal structures and the moderate technical difficulty. At G. Fr. Handel's sonata genre is distinguished by the characteristic unity of the thematic material, which bears the perfect mark of mastery. His sonatas are characterized by the breadth of the melodic line, the precise construction of the harmony and the generous sonority. [ABSTRACT FROM AUTHOR]

This quartet was composed in 1946 and followed a Symphony censored by the Soviet authorities, Symphony no. 9. The first audition took place on December 16, 1946, in the Small Hall of the Moscow Conservatory, by the Beethoven Quartet, to whom the work was dedicated. The composition has been brutally denounced as a result of the horrors it portrays and also for the fact that it ends in an unclear, unusual way. [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Leoš Janáček did not return to composing a string quartet until 1923, almost 45 years after his student composition for this instrumentation. The earlier Piano trio premiered in 1908 has direct relation with Quartet after Tolstoy's "Kreutzer sonata", but Janáček was not convinced of the Trio quality and destroyed it in 1923. However, some moments from the Trio could form the basis of the future quartet. Janáček composed the piece at the initiative of České kvarteto between October and November 1923 and then sent the score to the ensemble. Nonetheless, the first performance was not scheduled until 17 October 1924, when České kvarteto performed the piece at the Mozarteum in Prague. Subsequently, the score and parts were printed in Hudební matice of Umělecká beseda. Josef Suk, the second violinist of České kvarteto, made a significant contribution to the printed form of the composition. The material was published in 1925 and the first foreign performance -- critically acclaimed -- took place the same year at the festival of International Society for Contemporary Music (ISCM) in Venice. This study deals with the complicated genesis of the composition, Suk's changes and the principles of the forthcoming edition. Furthermore, it publishes a complete inventory of sources for the first time and describes them in detailed manner. [ABSTRACT FROM AUTHOR]

This article discusses the Bärenreiter Urtext edition of Beethoven's Trio in B-flat major for Pianoforte, Violin, and Violoncello, also known as the "Archduke" trio. The Urtext edition, edited by Jonathan Del Mar, aims to provide an authentic and unmediated access to Beethoven's original text. Del Mar compares various sources and versions of the trio to determine Beethoven's original instructions and distinguish them from later additions or changes made by others. The article highlights the importance of understanding the historical context and collaborative nature of music production in order to interpret and perform Beethoven's music accurately. The Bärenreiter Urtext edition is praised for its accessibility, high-quality textual-critical work, and affordable price. [Extracted from the article]

This article discusses the role of music, singing and voice in the development of the Zurich Reformation. It argues that the silencing of musical elements in the course of the Zwinglian liturgical reform was due to a new understanding of devotion, prayer and both individual and communal agency in church services. Zwingli and the Zurich reformers took issue with Gregorian chant in particular and applied a decidedly Erasmian understanding of religious communication as inward, silent devotion. Musical religiosity was transferred from the sacred space of the choir (kor) to the private homes of believers (kämerlin). Moreover, by simultaneously extending the notion of devotion and prayer to practices of everyday urban life, the liturgical reforms contributed to a sacralization and Christianization of the city as an urban space. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Educacion Musical is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The high level of canonicity enjoyed by Brahms's chamber music since the final decades of the nineteenth century easily obscures the roles different performance settings, media, and listening practices have played in shaping how individual works are heard and interpreted. In the case of the Trio for Piano, Violin, and Waldhorn (1865), perhaps Brahms's most singular essay in chamber music, the issue seems particularly acute given the culturally specific associations of the Waldhorn and the unusually important role accorded to timbre in this mid-nineteenth-century chamber work. This article considers the "resonance" of the Waldhorn in the Horn Trio in terms of its symbolic associations and sounding presence. Drawing on early critical assessments of the trio in German-language music periodicals, the investigation explores the Romantic qualities of the work noted by early writers, elucidating the symbolism of the Waldhorn and Brahms's deployment of the contrasting affects and temporalities associated with this instrument in his multi-movement composition. The later sections of the article discuss performances of the trio in relation to two important contexts: the developing institutional norms for public chamber music performance in Vienna during the 1860s, and the domestic reception of the classical chamber canon through gramophone recordings in Britain in the 1920s and 1930s. These episodes illustrate how particular contexts and media might throw into relief different aspects of the Horn Trio's compositional design, while suggesting ways in which the relatively fragile aesthetic at the heart of this work has been reengaged in the technological reception of Brahms's music. [ABSTRACT FROM AUTHOR]

Primary institutions that offer professional music education are conservatories, “music education” departments attached to education faculties, and music departments attached to faculties of fine arts. Although various theoretical and practical field classes are taught and different curriculums are administered in these institutions during the undergraduate education period, varying in content and weekly hours, instrument education is the common ground of all. Playing in ensembles, which is considered to be one of the significant and supporting dimensions of instrumental education, appears in almost all undergraduate programs’ curriculums in different forms like orchestra, chamber music, correpetition, etc. Accompanied performance classes or instrument education classes are usually carried out with solo instruments and piano accompaniment. In chamber music lessons though, string ensembles, wind instrument ensembles, guitar ensembles, or diverse instrumental groups are formed. While these groups are formed, it is important that the instruments are balanced and compatible in respect of characteristics. It can be said that the flute-guitar duo has a substantial place in chamber music, both from the aspects of compatibility and ever-developing/enriching repertoire. The purpose of this study is to determine the status of the utilization of flute-guitar duos in vocational music education institutions, in consideration of the opinions of instructors. The research is based on a scanning model aimed at status determination, and “questionnaire-documentary scanning” techniques are used with a descriptive approach. The sample group of the research consists of faculty members teaching orchestra and/or chamber music classes in higher education institutions that offer professional music education in various cities, who were able to be reached and provided as participants. In the research’s conclusion, it is understood that the instructors partially prefer the flute-guitar duo and find it advantageous in many aspects. The scarcity of source books and hence repertoire is among the most mentioned problems. Inadequateness of performer students, differences in student levels, and the scantness of accordant flute-guitar repertoire with the curriculum and student levels are some of the other determined problems. [ABSTRACT FROM AUTHOR]

Chamber music is a fascinating field that reveals the intimate interaction between musicians and their possibilities to communicate musically and emotionally in a small setting. The subtle interplay between instruments, sound textures and compositional structures creates a special atmosphere that connects musicians and listeners in an intimate and immersive communication. In a musical world dominated by large orchestras and grand performances, chamber music remains a hidden gem, a place where music comes to life in the most intimate and authentic way possible. The study of this musical genre emphasizes the fact that the size of the ensemble is not everything; often, in a confined setting, an emotional depth and richness is revealed that remains downright amazing. [ABSTRACT FROM AUTHOR]

This study investigates the room acoustics of seven chamber music halls of various modern and historical architecture by means of objective room acoustic measures and a subjective listening experiment. The acoustic measurements were performed with heavy cloth covering the audience areas to simulate occupancy in the halls. A loudspeaker quartet was used for auralizations, which were reproduced in a surrounding loudspeaker array. The perceptual differences between the halls were evaluated in terms of envelopment, warmth, clarity, proximity, and preference by using a paired comparison paradigm. The subjective evaluations were conducted in two different laboratories and latent class analysis was used to study the agreement between laboratories and the emergence of different listener groups in the ratings of each attribute. Concerning preference, the emergence of two groups found in the study of large symphony halls was confirmed, where one group prefers rich, enveloping sound and one group prefers high clarity. The perceptual ratings were not clearly associated with a specific hall shape, but rather depended on the distribution of early and late sound energy. Thus, the distinction between rectangular and non-rectangular floor plans previously found for large symphony halls was not observed with these smaller halls. [ABSTRACT FROM AUTHOR]

Irish-born composer Charles Villiers Stanford (1852-1924) has received both acclaim and criticism for his integration of Irish folk melodies in his compositions and for his role in publishing collections of Irish folk melodies. Throughout his career, the music of Ireland provided the inspiration for a number of compositions including orchestral works, songs, opera and chamber music. This article critically examines his Irish Dances op. 89, later published and referred to as Four Irish Dances, the source material for the work and versions created for piano by both Stanford and the Australian composer Percy Grainger (1882-1961). The article also addresses gaps in scholarship related to the performance and reception of the work(s). It also highlights inaccuracies in contemporary commentary, and returns the authorship of the works to Stanford. This examination parallels other studies and enhances an understanding not only of Stanford's compositional practice but the social, cultural and economic contexts of music at the turn of the twentieth century and their reception amongst audiences and critics. [ABSTRACT FROM AUTHOR]

Music aids meditation practices to concentrate, focus, and direct our attention to regulate our mind and body. As music evokes a broad range of feelings, from excitement to relaxation, enjoyment to sadness, fear to relief, and even mixtures of these, it has been part of meditation practices for thousands of years. Its beneficial power is known as an influential instrument for health, healing, and wellness. This paper presents the pieces created to use for meditation practices. [ABSTRACT FROM AUTHOR]

Christopher Bochmann, one of the most prominent composers and pedagogues of our time, is the only composer in Portugal, at this moment, to include in his catalogue 4 works that integrate the Accordion in the midst of contemporary music. Using isobematic language as a starting point and form of expression, Bochmann composed for Solo Accordion, Accordion in Chamber Music, Accordion in Ensemble and Concert for Accordion and Orchestra. In this article, we are going to investigate the work Es-say XVIII and how the composer organizes the form, structures the musical ideas and builds the idiomatic writing for Accordion using the converter system. [ABSTRACT FROM AUTHOR]

Copyright of Darbai ir Dienos is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente artículo explora aspectos históricos y analíticos del Cuarteto de cuerdas (1936) de Manuel M. Ponce. La obra, enérgica y de gran escala, mezcla orientaciones nacionalistas con técnicas modernas que el compositor desarrolló durante su estancia en París (1925–1933). Se posiciona entre las piezas más ambiciosas de Ponce y como una importante contribución a la escena de la música mexicana de cámara.