scholarly journals Saxophone Virtuosity: Manifestation and Effect in the Classical Saxophone Repertoire

2021 ◽  
Author(s):  
◽  
Reuben Chin
Keyword(s):  
Alto Saxophone ◽  
String Orchestra ◽  
Impossible Task ◽  
Concertino Da Camera ◽  
The Relationship ◽  
Saxophone Repertoire ◽  
Orchestral Repertoire

<p>To ascribe the word ‘virtuosity’ to a single and absolute definition is an impossible task. It is a term that is multifaceted in its meaning and which is understood differently in a variety of contexts. This thesis investigates how the word virtuosity has been used in music discourse, and then considers virtuosity in three aspects of saxophone performance: altissimo, fast finger technique and soloistic roles. The application of these three aspects of virtuosity to the classical saxophone repertoire is then examined. Specifically, I examine the application of altissimo in Jacques Ibert’s Concertino da Camera for Alto Saxophone and Eleven Instruments; fast finger technique in the cadenzas of Pierre Max Dubois’ Concerto for Alto Saxophone and String Orchestra and Alexander Glazunov’s Concerto for Alto Saxophone and String Orchestra; and soloistic roles in classical saxophone orchestral repertoire. I also consider the relevance of the saxophone as a non-standard orchestral instrument to the notion of soloistic virtuosity. With these three aspects of virtuosity established, I explore the relationship between virtuosity and Claude Debussy’s Rapsodie for Orchestra and Alto Saxophone. This exploration first demonstrates how adaptations made to the Rapsodie can be seen to increase the virtuosic nature of the work. Second, it looks at how these adaptations could be contradictory to the composer’s intentions. Last, it considers the motivation and purpose behind these adaptations. The aim of this thesis is to disclose ways in which virtuosity may be understood in the context of the classical saxophone repertoire and how this understanding has affected Debussy’s Rapsodie in particular.</p>

scholarly journals Saxophone Virtuosity: Manifestation and Effect in the Classical Saxophone Repertoire

2021 ◽  
Author(s):  
◽  
Reuben Chin
Keyword(s):  
Alto Saxophone ◽  
String Orchestra ◽  
Impossible Task ◽  
Concertino Da Camera ◽  
The Relationship ◽  
Saxophone Repertoire ◽  
Orchestral Repertoire

<p>To ascribe the word ‘virtuosity’ to a single and absolute definition is an impossible task. It is a term that is multifaceted in its meaning and which is understood differently in a variety of contexts. This thesis investigates how the word virtuosity has been used in music discourse, and then considers virtuosity in three aspects of saxophone performance: altissimo, fast finger technique and soloistic roles. The application of these three aspects of virtuosity to the classical saxophone repertoire is then examined. Specifically, I examine the application of altissimo in Jacques Ibert’s Concertino da Camera for Alto Saxophone and Eleven Instruments; fast finger technique in the cadenzas of Pierre Max Dubois’ Concerto for Alto Saxophone and String Orchestra and Alexander Glazunov’s Concerto for Alto Saxophone and String Orchestra; and soloistic roles in classical saxophone orchestral repertoire. I also consider the relevance of the saxophone as a non-standard orchestral instrument to the notion of soloistic virtuosity. With these three aspects of virtuosity established, I explore the relationship between virtuosity and Claude Debussy’s Rapsodie for Orchestra and Alto Saxophone. This exploration first demonstrates how adaptations made to the Rapsodie can be seen to increase the virtuosic nature of the work. Second, it looks at how these adaptations could be contradictory to the composer’s intentions. Last, it considers the motivation and purpose behind these adaptations. The aim of this thesis is to disclose ways in which virtuosity may be understood in the context of the classical saxophone repertoire and how this understanding has affected Debussy’s Rapsodie in particular.</p>

Accounting in 2036: A Learned Profession

2018 ◽  
Vol 93 (6) ◽  
pp. 387-390 ◽  
Author(s):  
John Christensen
Keyword(s):  
Business School ◽  
Academic Community ◽  
Current Status ◽  
Institutional Barriers ◽  
The Road ◽  
Research And Teaching ◽  
History Of ◽  
Impossible Task ◽  
The University ◽  
The Relationship

ABSTRACT My assignment is to analyze the development of accounting thought and its position within the university. The focus is on the expected development in the next 20 years, despite the fact that that is an impossible task. I will ruthlessly extrapolate from my personal observations of the activities in the accounting community. In doing this, I will deal with accounting research, the relationship between research and teaching within the field of accounting, and the relation to other disciplines in the business school. This will be done in three steps. I will give a brief review of the recent history of accounting thoughts, then comment on current status of 2016, and, finally, give some perspectives. The road ahead is going to be bumpy as many institutional barriers are in the way. This has to change for the accounting academics to retake their space in the academic community.

1975 The Year of Women

Making Waves ◽  
2019 ◽  
pp. 33-50
Author(s):  
Diana Holmes ◽  
Imogen Long
Keyword(s):  
United Nations ◽  
Student Movement ◽  
The Political ◽  
Second Wave Feminism ◽  
The Status ◽  
Cultural Themes ◽  
Impossible Task ◽  
The 1960S ◽  
The Relationship ◽  
Second Wave

The relationship between 1970s French radical feminists (the MLF) and Françoise Giroud, the first ‘Minister for Women’ in France, was a difficult one. Second-wave feminism in France was grounded in the contestation of the status quo, in the wake of the 1960s student movement out of which some of the groups emerged. Being part of the political establishment was therefore in itself an anathema to some second-wave feminists, as can be seen, for example, by satirical feminist films mocking Giroud’s role and her interventions. Through the prism of 1975, officially declared ‘International Women’s Year’ by the United Nations, this chapter explores the key campaigning and cultural themes of the MLF and their relationship to Giroud’smore reformist and, arguably, impossible task as Minister for Women.

scholarly journals “Capricorn Concerto” by Samuel Barber: Content and Genre-Style Dimensions

2021 ◽  
pp. 52-68
Author(s):  
Olena Antonova
Keyword(s):  
Structural Organization ◽  
Comprehensive Analysis ◽  
Wind Instruments ◽  
String Orchestra ◽  
Compositional Structure ◽  
Samuel Barber ◽  
Baroque Music ◽  
Program Content ◽  
Scientific Attention ◽  
The Relationship

Relevance of the study. Samuel Barber’s musical legacy is unevenly covered in musicological literature, in particular, “Capricorn Concerto” is on the periphery of scientific attention — the work that is not only bright and interesting, but also indicative of the composer’s creativity as a whole. In addition, researchers, as a rule, do not associate the semantic and stylistic features of a concert with its genre specificity, which ultimately determines the integrity of the artistic structure.The main objective of the study is to identify the relationship between genre, style and content parameters of Capricorn Concerto.The methodology of the research includes the historical and biographical approaches used to study the circumstances of S. Barber’s life and creativity during the period of work on the “Capricorn Concerto”, as well as structural-functional, genre-style and intonational-dramatic methods necessary for a comprehensive analysis of this work.Results and conclusions. “Capricorn Сoncerto” by S. Barber is considered in the unity of content, style and genre characteristics. The existing hypotheses about the links between the program content of the work and the name of the composer’s house in Mount Kisco are presented. The character and dramatic functions of musical themes representing the house and its inhabitants are analyzed, the idea of the personification of the wind instruments’ timbres and the reflection of the generalized program of the work through the game thematic logic and timbre dramaturgy is put forward. The stylistic influences in “Capricorn Сoncerto” are characterized. The connections with baroque music and the Brandenburg Concerto No. 2 by J. S. Bach, presented at the timbre, textured, compositional, intonation levels, as well as in the methods of melodic development, are traced. The unification of the Baroque style elements with modern means of musical expression, in particular those associated with the music of I. Stravinsky, is emphasized. The place of “Capricorn Сoncerto” in S. Barber’s concert legacy is designated. The correspondence of all his four concerts to the basic requirements of the genre is noted, and at the same time specificity of “Capricorn Сoncerto”, manifested in its instrumental composition (three solo wind instruments and a string orchestra), structural organization (subordination of the compositional structure to the through development of the concert principle of dialogue) and the ratio of parties (multilevel dialogical processes) is emphasized. The interrelation of content, style and genre features of “Capricorn Concerto” is substantiated. It is concluded that the most important intentions of S. Barber’s work are reflected in this work: careful preservation of genre traditions, genetic connection with the styles of previous eras, deeply hidden, but always tangible resonance between personal biography and creativity

The German Lutheran Church and the Rise of National Socialism

1972 ◽  
Vol 41 (3) ◽  
pp. 326-336 ◽  
Author(s):  
Hans Tiefel
Keyword(s):  
National Socialism ◽  
Protestant Church ◽  
Lutheran Church ◽  
Confessing Church ◽  
Impossible Task ◽  
Objective Understanding ◽  
Protestant Christians ◽  
The Relationship ◽  
The Church

The attempt to arrive at a balanced and objective understanding of the relationship between the German Protestant church, which is predominantly Lutheran, and the rise of National Socialism is an almost impossible task today. For what we now hear about the Protestant church of the thirties tends to be written by those who were vindicated by the turn of events, while those who supported Hitler and National Socialism have tended to remain silent, understandably enough. The flood of books and articles by the Confessing Church gives the misleading impression that the stand of the church toward the Nazi state was one of resistance and opposition. Instead, the main Protestant response to Hitler and to the nationalistic forces he represented ranged from inactive indifference to over-whelming support. The Confessing Church, which did display a courageous though not always consistent opposition, at best never spoke for more than about one tenth of all Protestant Christians.

scholarly journals WOVEN: THE MUSIC OF EGIDIJA MEDEKŠAITĖ

Tempo ◽  
2019 ◽  
Vol 73 (288) ◽  
pp. 47-58
Author(s):  
Christopher Fox
Keyword(s):  
String Quartet ◽  
String Orchestra ◽  
Musical Compositions ◽  
The Relationship

ABSTRACTThe Lithuanian composer Egidija Medekšaitė (b. 1979) has developed a practice in which she uses the principles of textile weaving to make musical compositions. This article introduces a series of works created in the last three years in which she has refined these techniques; it also considers the nature of the relationship between the textile patterns that Medekšaitė uses as the basis for these works and the resultant music. In particular the article focuses on an analytical account of four works: Âkâsha for string orchestra (2015), the string quartet Megh Malhar (2016), a setting of the Nunc dimittis (2018), and Sattva for electronics and accordion (2018).

Race, Identity and Nationality: Relocating Nepali Nationalism in India

2018 ◽  
Vol 9 (1) ◽  
pp. 6-18
Author(s):  
Tanka B. Subba
Keyword(s):  
Bilateral Relationship ◽  
Race Identity ◽  
Socially Constructed ◽  
Impossible Task ◽  
The Relationship

This article contextualises the relationship between race, identity and nationality with the case of Nepalis in India, who are historically, racially, culturally, and linguistically heterogeneous but socially constructed as a homogenous community in India. It surmises that relocating Indian Nepalis, without a reference to the country of their origin no matter when they came from Nepal, without considering India’s bilateral relationship with Nepal, and without linking Indian Nepalis with the Madhesi or Nepal Nepalis, seems an extremely challenging, if not impossible, task.

Interstellar gas in the central region of the Galaxy

1967 ◽  
Vol 31 ◽  
pp. 239-251 ◽  
Author(s):  
F. J. Kerr
Keyword(s):  
Central Region ◽  
Galactic Plane ◽  
Neutral Hydrogen ◽  
Continuum Emission ◽  
Galactic Centre ◽  
Interstellar Gas ◽  
Hydrogen Recombination ◽  
The Galaxy ◽  
Centre Region ◽  
The Relationship

A review is given of information on the galactic-centre region obtained from recent observations of the 21-cm line from neutral hydrogen, the 18-cm group of OH lines, a hydrogen recombination line at 6 cm wavelength, and the continuum emission from ionized hydrogen.Both inward and outward motions are important in this region, in addition to rotation. Several types of observation indicate the presence of material in features inclined to the galactic plane. The relationship between the H and OH concentrations is not yet clear, but a rough picture of the central region can be proposed.

The relationship of the scleractinian corals to the rugose corals

Paleobiology ◽  
1980 ◽  
Vol 6 (02) ◽  
pp. 146-160 ◽  
Author(s):  
William A. Oliver
Keyword(s):  
Critical Points ◽  
Scleractinian Corals ◽  
Convincing Evidence ◽  
Early Triassic ◽  
Rugose Corals ◽  
History Of ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
Biologic Factors

The Mesozoic-Cenozoic coral Order Scleractinia has been suggested to have originated or evolved (1) by direct descent from the Paleozoic Order Rugosa or (2) by the development of a skeleton in members of one of the anemone groups that probably have existed throughout Phanerozoic time. In spite of much work on the subject, advocates of the direct descent hypothesis have failed to find convincing evidence of this relationship. Critical points are:(1) Rugosan septal insertion is serial; Scleractinian insertion is cyclic; no intermediate stages have been demonstrated. Apparent intermediates are Scleractinia having bilateral cyclic insertion or teratological Rugosa.(2) There is convincing evidence that the skeletons of many Rugosa were calcitic and none are known to be or to have been aragonitic. In contrast, the skeletons of all living Scleractinia are aragonitic and there is evidence that fossil Scleractinia were aragonitic also. The mineralogic difference is almost certainly due to intrinsic biologic factors.(3) No early Triassic corals of either group are known. This fact is not compelling (by itself) but is important in connection with points 1 and 2, because, given direct descent, both changes took place during this only stage in the history of the two groups in which there are no known corals.

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