Search Results for the-fermata

The Fermata Translated by J. T. Bealby Original title: Die Fermate Original language: German Cover image: Shutterstock Copyright © 1885, 2022 SAGA Egmont All rights reserved ISBN: 9788728264317 1st ebook edition Format: EPUB 3.0 No part ...

Author: E.T.A. Hoffmann

Publisher: Lindhardt og Ringhof

ISBN: 9788728264317

Category: Fiction

Page: 36

View: 483

DOWNLOAD & READ
‘The Fermata’ (1885) is a ‘weird tale’ written by the German romantic author E. T. A. Hoffmann, most famous for his novella ‘The Nutcracker and the Mouse King’ (1816) which inspired Tchaikovsky’s opera ‘The Nutcracker’. This classic short horror story is perfect for fans of horror and fantasy fiction and the authors H. P. Lovecraft and Neil Gaiman. Ernst Theodor Wilhelm Hoffmann (1776-1822), better known as E. T. A. Hoffmann, was a German Romantic author of fantasy and gothic horror. He was also a composer, music critic, draftsman and caricaturist. Hoffmann's stories inspired several famous operatic composers, including Richard Wagner, Jacques Offenbach and Léo Delibes. He is also the author of the novella ‘The Nutcracker and the Mouse King’, on which Tchaikovsky’s famous ballet, ‘The Nutcracker’ is based. The story also inspired the film ‘The Nutcracker and the Four Realms’ (2018), starring Keira Knightley, Morgan Freeman, Helen Mirren.
2022-06-21 By E.T.A. Hoffmann

stories the best have been selected for translation in these two volumes , namely , Der Artushof ( Arthur's Hall ) , Die Fermate ( The Fermata ) , Doge und Dogaresse ( Doge and Dogess ) , Meister Martin der Küfner und seine Gesellen ...

Author: Ernst Theodor Amadeus Hoffmann

Publisher:

ISBN: STANFORD:36105002437668

Category:

Page: 442

View: 348

DOWNLOAD & READ

stories the best have been selected for translation in these two volumes , namely , Der Artushof ( Arthur's Hall ) , Die Fermate ( The Fermata ) , Doge und Dogaresse ( Doge and Dogess ) , Meister Martin der Küfner und seine Gesellen ...

Author: Ernst Theodor Amadeus Hoffmann

Publisher:

ISBN: HARVARD:32044005013925

Category:

Page: 444

View: 363

DOWNLOAD & READ

At least we should say that the proper length of a note under a fermata cannot be quantified successfully . The fermata is the most neglected notational sign in the pedagogical works of Schubert's day . August Swoboda appears to be the ...

Author: David Montgomery

Publisher: Pendragon Press

ISBN: 1576470253

Category: Music

Page: 346

View: 408

DOWNLOAD & READ
In Franz Schubert's Music in Performance David Montgomery challenges many operative myths about the music of this great, but often misunderstood, Viennese master. Chief among them is the lingering notion that Schubert was poorly-trained but still managed to turn out brilliant, if often flawed, scores. Modern adherents of this view believe that Schubert could not notate his own musical wishes accurately, and that he was principally a creature of intuition. Accordingly, musicians might allow themselves wide intuitive leeway in the interpretation of his music. Another myth challenged by Montgomery is that Schubert was a conservative, or perhaps even a chronological throwback. Opposing recent attempts to legitimize performer-generated embellishment of Schubert's music in the style of the eighteenth century, He clarifies Schubert's contributions to the radical intellectualism of nineteenth-century romanticism. The book offers six informative chapters ranging from aesthetics and acoustics to the specifics of tempo and expression, plus an appendix of pertinent Viennese pedagogical sources. In addition to many years of musicological research, Montgomery brings long experience as a concertizing pianist and conductor to this engaging and controversial work.

Each fermata presents a unique situation. In reality, a fermata indicates a cessation of the rhythmic aspect of the music. However, the conductor in most situations may want the musical pulse to continue in his or her mind to dictate a ...

Author: John F. Colson

Publisher: Scarecrow Press

ISBN: 9780810882614

Category: Music

Page: 520

View: 672

DOWNLOAD & READ
Conducting and Rehearsing the Instrumental Music Ensemble is the most comprehensive guide on the rehearsal process for conducting instrumental music ensembles. Ideal for the advanced instrumental music conductor seeking to look beyond basic conducting technique, this work breaks the multidimensional activity of working with an ensemble, orchestra, or band into its constituent components. Advanced students of conducting will find within the full range of conducting activities: • Chapters on the infrastructure of the rehearsal, the rehearsal environment, 10 rehearsal essentials, score study, music imagery, inner singing, and rehearsal procedures (with an emphasis on an integrated approach to rehearsing) • The technical priorities of intonation and tuning, rhythm patterns, ensemble sonority (tone, balance, blend, color and texture), and articulation • The musical priorities of tempo and ensemble precision, phrasing and the musical line, style and interpretation, dynamics and musical expression • Emphasizing the expectations of 21st-century conductors, the challenges of conducting and rehearsing contemporary music, preparing conductor profiles and self-evaluations, and moving from the rehearsal process to concert performance Conducting and Rehearsing the Instrumental Music Ensemble is a great resource for teachers and students of conducting, as well as current conductors wishing to further hone their skills.
2012-08-09 By John F. Colson

16 PARALIPOMENA Grand The Fermata The fermata ( corona , pause ) could indicate a number of different things in the music of this period . Its functions were not generally distinguished by any graphic difference in the sign , though ...

Author: Clive Brown

Publisher: Oxford University Press

ISBN: 9780195347241

Category: Music

Page: 662

View: 229

DOWNLOAD & READ
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
2004-05-20 By Clive Brown

Fermata. A symbol, a circular shape over a dot, calling either for a lengthening of a note or chord or for the insertion of an ornamental flourish. Historically it is not always certain which of these meanings was intended.

Author: Roland Jackson

Publisher: Routledge

ISBN: 9781136767692

Category: Music

Page: 544

View: 370

DOWNLOAD & READ
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
2013-10-23 By Roland Jackson

The left hand supports the fermata with a slow forward motion that reflects the sustained pitch. Assuming that the introduction is conducted in six, the conductor does not need to mark counts 1, ...

Author: Gustav Meier

Publisher: Oxford University Press

ISBN: 0199716900

Category: Music

Page: 512

View: 540

DOWNLOAD & READ
Known internationally for his work as a teacher of conducting, Gustav Meier's influence in the field cannot be overstated. In The Score, the Orchestra and the Conductor, Meier demystifies the conductor's craft with explanations and illustrations of what the conductor must know to attain podium success. He provides useful information from the rudimentary to the sophisticated, and offers specific and readily applicable advice for technical and musical matters essential to the conductor's first rehearsal with the orchestra. This book details many topics that otherwise are unavailable to the aspiring and established conductor, including the use of the common denominator, the "The ZIG-ZAG method", a multiple, cross-indexed glossary of orchestral instruments in four languages, an illustrated description of string harmonics, and a comprehensive listing of voice categories, their overlaps, dynamic ranges and repertory. The Score, the Orchestra and the Conductor is an indispensable addition to the library of every conductor and conducting student.
2009-08-26 By Gustav Meier

Double barlines mark the beginning and end of the Film Music and also separate the central bar , m . 687 , from the remainder of the Film Music . The exact midpoint of the Film Music is marked by a fermata that divides m .

Author: George Perle

Publisher: Univ of California Press

ISBN: 0520066162

Category: Music

Page: 358

View: 273

DOWNLOAD & READ
1989 By George Perle

Wait for me at the fermata This she said to me as she touched my hand Rehearsing the Cantata. I was a stranger to music And foolish in romance I thought she meant a rendezvous And willing to take a chance. Wait for me at the fermata.

Author: Peter Chapel

Publisher: eBook Partnership

ISBN: 9781618565525

Category: Poetry

Page: 84

View: 327

DOWNLOAD & READ
My song lyrics were a consequence of being a captive in my automobile twice a month from 1978 to 1981 while driving eight hours at a stretch, mostly at night. This opportunity to reminisce made me recall incidents and people who, for one reason or another, left an indelible impression on my mind.With a small cassette tape recorder by my side, I decided one day to express my thoughts, memories, and feelings. As the words formed phrases and sentences they fell into a rhythm and evolved into melodies that became my form of self-expression for about two years. I never tried, consciously, to be poetic or profound.Writing in the first person singular seemed the easiest way to go. Taking advantage of poetic license it worked well even when I, personally, had the experience only as an observer.Because I have had no musical training I depended on a friend to transcribe the songs from tape to lead sheet form and piano accompaniment.Where I used real names, the songs were intended to be a tribute to the persons. Where a fictitious name was used, it was no less a tribute.
2014-06-16 By Peter Chapel