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David Nguyen
David Nguyen

Shostakovich's Music For Piano Solo: Interpretation And Performance (Russian Music Studies) EXCLUSIVE Download

Many young musicians find the close collaboration and artistic give-and-take of chamber music to be uniquely rewarding. Possible chamber music configurations include but are not limited to string quartets, piano trios, woodwind and brass quintets, and other ensembles with piano. Both self-formed and instructor-suggested groups are feasible, and enrollees are permitted to select repertoire from an array of choices recommended by the instructor. Groups typically meet twice a week for at least an hour per session--once on their own and once with a coach (either the instructor or another member of the Music Department faculty). Opportunities for coaching by visiting professional artists on the prestigious Music at Amherst series are often also available. Culminating performances of selected movements or entire works are presented in varying venues both within the Department and on campus, as well as off campus. Consistent, conscientious and punctual attendance as well as part preparation is required. Participation in Symphony Orchestra by auditing or registration is a co-requisite, except for pianists. Lecturer Swanson. Fall and Spring Semester. May be repeated for credit.

Shostakovich's Music For Piano Solo: Interpretation And Performance (Russian Music Studies) Download

(Offered as MUSI 222 and EUST 222) One of three courses in which the development of Western music is studied in its cultural-historical context. Occasionally we will attend concerts in Amherst and elsewhere. Composers to be studied include Beethoven, Rossini, Schubert, Mendelssohn, Schumann, Chopin, Liszt, Berlioz, Wagner, Verdi, Mussorgsky, and Brahms. Regular listening assignments will broaden the repertoire we encounter and include a wide sampling of Classical and Romantic music. Periodic writing assignments will provide opportunities to connect the music with historical-cultural interpretation. Readings will focus on Gibbs/Taruskin Oxford History of Western Music with additional historical documents and selected critical and analytical studies. This course may be elected individually or in conjunction with other Music and Culture courses (MUSI 221 and 223). Two class meetings per week.

What does it mean to compose? What do you need to know in order to do it? We will investigate the practice of music composition across recent decades and create original work inspired by the music and techniques we encounter. We will study the use instruments and voices, how to provide a clear musical score for interpretation by performers, and how improvisation and technology can inform and become part of a composition. Students may bring any style or tradition to the table. The class will focus especially on three lineages through the twentieth century into the twenty-first: modern Western art music, instrumental music from the African-American tradition, and the gamut of American popular song. Each composition will be presented in class, with the assistance of performers from inside and outside the class. We will develop the skill of providing one another constructive feedback. The class will culminate in a concert performance of final compositions.Two class meetings per week.

As musicians, we sometimes forget how powerful harmony is. We casually drop the term in conversation. We think of it as common knowledge. Well, in a way, it is. Emerging in the 17th century in Western Europe and eventually spreading to many places around the world, this musical system has come to play a tremendous role in our perception of musical structure and our emotional experience as listeners.We find harmony in concert halls, coliseums, and coffeehouses, jazz clubs, movie theaters, and mosh pits. Inextricably bound to our digital-download algorithms for "happy", "focus-flow", and "lo-fi cool down", it is built into our playlists. Through composition, analysis, dictation and performance, we will develop theoretical and practical tools to cultivate a deep understanding of the conventions of tonal harmony across a variety of styles. We will use counterpoint - the combination of melodic lines - to amplify our examination.

David began his studies at UW-Madison in 2010 and declared majors in political science, music performance, and Latin during his first semester. As a music major, David studied under saxophone professor Les Thimmig, performing in his studio, the UW Wind Ensemble, and a saxophone quartet. Additionally, he played clarinet in the UW Concert Band for several semesters.


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