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Flute Sonata (Poulenc)
The ''Sonate pour flûte et piano'' (Flute Sonata), FP (Poulenc), FP 164, by Francis Poulenc, is a three-movement work for flute and piano, written in 1957. The sonata was commissioned by the American Library of Congress and is dedicated to the memory of Elizabeth Sprague Coolidge, an American patron of chamber music. Poulenc preferred composing for woodwinds above strings. He premiered the piece with the flautist Jean-Pierre Rampal in June 1957 at the Strasbourg Music Festival. The work was an immediate success, and was quickly taken up in the US, Britain and elsewhere and has been recorded many times. Critics have noted Poulenc's characteristic "trademark bittersweet grace, wit, irony and sentiment" in the piece. In 1976, thirteen years after Poulenc's death, the composer Lennox Berkeley made a well-regarded orchestrated version of the work that has also been recorded. The flute sonata became one of Poulenc's best-known works and is a prominent feature in 20th-century flute reper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
FP (Poulenc)
This is a list of works written by the French composer Francis Poulenc (1899–1963). As a pianist, Poulenc composed many pieces for his own instrument in List of solo piano compositions by Francis Poulenc, his piano music and chamber music. He wrote works for orchestra including several concertos, also three operas, two ballets, incidental music for plays and film music. He composed songs (''Mélodie, mélodies''), often on texts by contemporary authors. His religious music includes the Mass (Poulenc), Mass in G major, the Stabat Mater (Poulenc), Stabat Mater and Gloria (Poulenc), Gloria. Overview The composer had written a catalogue of his works in 1921, which is reproduced in Schmidt's book. According to this list, the first noted piece was in 1914 ''Processional pour la crémation d'un mandarin'' for piano, now lost or destroyed. Poulenc completed his last work, his Oboe Sonata (Poulenc), Oboe Sonata, in 1962. Piano, chamber music and songs As a professional pianist, Poul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Figaro
''Le Figaro'' () is a French daily morning newspaper founded in 1826. It is headquartered on Boulevard Haussmann in the 9th arrondissement of Paris. The oldest national newspaper in France, ''Le Figaro'' is one of three French newspapers of record, along with ''Le Monde'' and ''Libération''. It was named after Figaro, a character in a play by polymath Beaumarchais (1732–1799); one of his lines became the paper's motto: "''Sans la liberté de blâmer, il n'est point d'éloge flatteur''" ("Without the freedom to criticise, there is no flattering praise"). With a centre-right editorial line, it is the largest national newspaper in France, ahead of ''Le Parisien'' and ''Le Monde''. In 2019, the paper had an average circulation of 321,116 copies per issue. The paper is published in Berliner format. Since 2012 its editor (''directeur de la rédaction'') has been Alexis Brézet. The newspaper has been owned by Dassault Group since 2004. Other Groupe Figaro publications include ''Le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantilena
A cantilena (Italian for "lullaby" and Latin for "old, familiar song") is a vocal melody or instrumental passage in a smooth, lyrical style. References {{classical-music-stub Classical music styles ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale (music)
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quarter Note
A quarter note (American) or crotchet ( ) (British) is a note (music), musical note played for one quarter of the duration of a whole note (or semibreve). Quarter notes are notated with a filled-in oval note head and a straight, flagless stem (music), stem. The stem usually points upwards if it is below the middle line of the musical staff, staff, and downwards if it is on or above the middle line. An upward stem is placed on the right side of the notehead, a downward stem is placed on the left (see image). The Unicode symbol is U+2669 (♩). A quarter rest (music), rest (or crotchet rest) denotes a silence of the same duration as a quarter note. It typically appears as the symbol , or occasionally, as the older symbol .''Rudiments and Theory of Music'' Associated Board of the Royal Schools of Music, London 1958. I,33 and III,25. The former section shows both forms without distinction, the latter the "old" form only. The book was the Official ABRSM theory manual in the UK ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blue Note
In jazz and blues, a blue note is a note that—for expressive purposes—is sung or played at a slightly different pitch from standard. Typically the alteration is between a quartertone and a semitone, but this varies depending on the musical context. Origins and meaning The blue notes are usually said to be the lowered third, lowered fifth, and lowered seventh scale degrees. The lowered fifth is also known as the raised fourth.Ferguson, Jim (1999). ''All Blues Soloing for Jazz Guitar: Scales, Licks, Concepts & Choruses'', p. 20. . Though the blues scale has "an inherent minor tonality, it is commonly 'forced' over major-key chord changes, resulting in a distinctively dissonant conflict of tonalities". A similar conflict occurs between the notes of the minor scale and the minor blues scale, as heard in songs such as "Why Don't You Do Right?", " Happy" and " Sweet About Me". In the case of the lowered third over the root (or the lowered seventh over the dominant), the resul ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wilfrid Mellers
Wilfrid Howard Mellers (26 April 1914 – 17 May 2008) was an English music critic, musicologist and composer. Early life Born in Leamington, Warwickshire, Mellers was educated at the local Leamington College and later won a scholarship to Downing College, Cambridge, where he read English under F. R. Leavis. He later lodged with the Leavises for three years while pursuing a Music degree. Mellers also took private composition lessons in Oxford from Egon Wellesz and Edmund Rubbra.East, Leslie, revised Gordon Rumson. 'Mellers, Wilfrid (Howard)', in ''Grove Music Online'' (2001) From 1938 he taught at Dartington Hall, and in September 1940 he married Vera Muriel Hobbs. He spent the Second World War working on the land as a conscientious objector.Dickinson, Peter.Mellers, Wilfrid Howard in ''The Oxford Dictionary of National Biography'' (2013) Career After writing many articles for Leavis's journal ''Scrutiny'' since the September 1936 issue, he appeared on the editorial board of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedal Point
In music, a pedal point (also pedal note, organ point, pedal tone, or pedal) is a sustained tone, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance".Frank, Robert J. (2000)"Non-Chord Tones" , ''Theory on the Web'', Southern Methodist University. Pedal points "have a strong tonal effect, 'pulling' the harmony back to its root". Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal pointBenward & Saker (2003). ''Music: In Theory and Prac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sixteenth Note
Figure 1. A 16th note with stem facing up, a 16th note with stem facing down, and a 16th rest. Figure 2. Four 16th notes beamed together. In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation. Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arpeggio
A broken chord is a chord broken into a sequence of notes. A broken chord may repeat some of the notes from the chord and span one or more octaves. An arpeggio () is a type of broken chord, in which the notes that compose a chord are played or sung in a rising or descending order. An arpeggio may also span more than one octave. Being an Italian noun, its plural is ''arpeggi''. The word ''arpeggio'' comes from the Italian word ''arpeggiare'', which means ''to play on a harp''. Even though the notes of an arpeggio are not played or sung all together at the same time, listeners hear the sequence of notes as forming a chord. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently. Arpeggios enable composers writing for monophonic instruments that play one note at a time (e.g., flute, saxophone, trumpet), to voice chords and chord progressions in musical pieces. Arpeggios and brok ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C (musical Note)
C or Do is the first note and semitone of the C major scale, the third note of the A minor scale (the relative minor of C major), and the fourth note (G, A, B, C) of the Guidonian hand, commonly pitched around 261.63 Hz. The actual frequency has depended on historical pitch standards, and for transposing instruments a distinction is made between written and sounding or concert pitch. It has enharmonic equivalents of B and D. In English the term ''Do'' is used interchangeably with C only by adherents of fixed Do solfège; in the movable Do system Do refers to the tonic of the prevailing key. Frequency Historically, concert pitch has varied. For an instrument in equal temperament tuned to the A440 pitch standard widely adopted in 1939, middle C has a frequency around 261.63 Hz (for other notes see piano key frequencies). Scientific pitch was originally proposed in 1713 by French physicist Joseph Sauveur and based on the numerically convenient frequency of 256 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
