1857 research outputs found
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18、19世纪美术作品中黑管哨片的位置 [18th- and 19th-century iconographical representations of clarinet reed position]
No full textEighteenth- and 19th-century iconographical representations of clarinet reed position confirm the existence of two embouchures as documented in contemporary primary source materials. While the reed-below embouchure has become the most prevalent today, works of art confirm the coexistence of reed-above clarinet playing until the second half of the 19th century. Specific portrayals of the reed-above embouchure indicate its use among art practitioners and military players as well as in indigenous musics. Quite a few representations testify to the popularity of the five-keyed clarinet which, although developed ca. 1765, was still employed well into the 19th century. Organological details documented in these pictures include the transition to a dark-wood mouthpiece joint, and the use of a metal ligature to bind the reed to the mouthpiece. The images discussed include engravings, paintings, and lithographs dating from ca. 1722 to ca. 1860, by artists from Germany, England, France, and Italy
Awareness and incidence of health problems among conservatoire students
No full textA survey of conservatoire students is reported in which information was gathered regarding their awareness and incidence of physical and mental health problems resulting from performing music, as well as places and/or people they would turn to for advice in the event of a future problem. Pain and discomfort relating to posture and excessive practising were reported to be frequent, as was performance anxiety. Students showed a significant inclination to go first to their instrumental teacher for advice about health and psychological problems, before appropriate medical practitioners. These results are discussed in the light of previous research. In addition, a curriculum initiative is described in which a series of seminars have been presented to first-year students at the Royal College of Music with the intention of broadening their awareness of the health issues associated with performing professionally and of the places where they could seek professional help
Conservazione e ri-uso: il controllo dello stato di salute del ‘Cannone’/Conservation and re-use: checking on the state of the ‘Cannone’s’ health
No full textVessel tales
No full textFor piano & orchestra in four movements, duration 22 minutes. Composed in memory of Susan Bradshaw, this piece was first performed by Jianing Kong (piano) and the RCM Sinfonietta, conducted by Robin O’Neil on 6 December 2007 in the Amaryllis Fleming Concert Hall, Royal College of Music, London
Working in music: the trombonist
No full textHow can conservatoires best prepare their graduates to enter the current employment market in western classical music and continue to develop their careers as that market changes? Does the answer to this question vary between instruments and over time? This paper focuses on the special case of 23 trombonists who graduated from a UK conservatoire between 1961 and 2000, and considers their working lives and whether there are trends in their working lives. We situate the subset of trombonists within a larger set of brass players, which is in turn a subgroup of a larger dataset of over 1,000 alumni. We apply a method that has been specifically developed through the Working in Music research project to research the careers of musicians and that has already been used for studies focusing on pianists, violinists, and higher education music instrumental teachers. The present study reports that trombonist alumni presently do less work in performance than their peers, despite the opposite being true for the first five years after their graduation; recent graduate trombonists appear to be finding it more difficult to get performance work than their predecessors. Understanding the barriers encountered by alumni informs the institution how it can help to prepare brass students for their careers and how conservatoires in general can develop their careers education. ******* PLEASE NOTE: This article is available open access at the Official URL given below. ******
Produzione, commercio e diffusione di strumenti musicali a Firenze intorno al 1770 [Production, trade and diffusion of musical instruments in Florence around 1770]
No full textFrench operatic spectacle in the twentieth century
No full textIn the revivals of spectacle were an important symptom of France's rediscovery of her musical heritage and a reassertion of national identity, and were also influential on newly composed French operas of the twentieth century, both in orchestration and subject matter. Certainly there are striking patterns revealed by an overview of operatic activity in France, for no account of new French opera can ignore the context of operatic activity in which they were produced. Three operas from the first years of the century conveniently open up distinct pathways in French opera, all of them premiered at the Opera-Comique: Jules Massenet's Cendrillon, Gustave Charpentier's Louise, and Claude Debussy's Pelleas et Melisande. L'heure espagnole was the first of Maurice Ravel's two one-act operas, often paired in performance with his other, L'enfant et les sortileges, often regarded as lightweight, much-loved favourites which have certainly retained their place in the repertoire
In dulci jubilo [traditional arr. Hesketh]
No full textArrangement by Kenneth Hesketh of the traditional carol for SATB choir and orchestra, or SATB choir a cappella/with piano.
The orchestral version has been recorded by the Northern Sinfonia with the Northern Sinfonia Chorus and the youth choir Quay Voices, conducted by Simon Halsey (Avie Records AV2244): http://www.avie-records.com/releases/rejoice/