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Full interview: https://youtu.be/mdbqs9pPJJs
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Full interview: https://youtu.be/O8UnUqJ3qM4
@TiborSzasz48
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Professor Job IJzerman, the author of "Harmony, Counterpoint, Partimento", relates a real-world example of encountering a good student at the Conservatory of Amsterdam who was passing her exams well and yet could not understand harmony.
Full interview: https://youtu.be/_fYIQ0O0YnY
Full interview: https://youtu.be/mdbqs9pPJJs
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Professor William Rothstein joins me to discuss his latest book, "The Musical Language of Italian Opera, 1813-1859," published by Oxford University Press.
Description of book: "Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers—Rossini, Bellini, Mercadante, Donizetti, and Verdi—and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns—that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists."
Professor William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.
Buy the Book (Amazon Affiliate link):
https://amzn.to/3vaS2fY
✅ ..
Full interview: https://youtu.be/dsD3PGbhJXE
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Full interview: https://youtu.be/dsD3PGbhJXE
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Full interview: https://youtu.be/dsD3PGbhJXE
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Full interview: https://youtu.be/dsD3PGbhJXE
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Full interview: https://youtu.be/dsD3PGbhJXE
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Full interview: https://youtu.be/FQxvlt44w1M
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Full interview: https://youtu.be/FQxvlt44w1M
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Full interview: https://youtu.be/FQxvlt44w1M
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I speak to Professor Michael R. Dodds about his new book, "From Modes to Keys in Early Modern Music Theory", published by Oxford University Press.
"From Modes to Keys in Early Modern Music Theory" provides the first comprehensive study of the transition from the Renaissance modes to the major and minor keys of 18th-century music history. It proposes a model for the transition from modes to keys, illuminating the shift from vocal to keyboard ways of conceptualizing tonal space, and offers an in-depth survey of Western European music theory from the Middle Ages to 1800."
Michael R. Dodds is Associate Professor of Music History at the University of North Carolina School of the Arts. His callings as scholar, artist, and teacher are united by a life-long fascination with the conceptualization of tonal structures, especially in the contexts of sacred music. The story of Dodds as an artist is the subject of the 2023 documentary Blessed Unrest: A Composer's Awakening.
Readers can access the first chapter for free here: https://academic.oup.com/book/55156/chapter/424075219.
Readers may also use code AAFLYG6 for a 30% discount on the OUP website: https://global.oup.com/academic/product/from-modes-to-keys-in-early-modern-music-theory-9780199338153?cc=us⟨=en&#en&#.
From Professor Dodds:
"The second chapter, “A Brief Introduction to Modal Systems,” will be especially helpful for readers new to modal theory.
Interested viewers can also watch Blessed Unrest, a one-hour award-winning inspirational documentary by Bonnemaison about my story as a composer, including my childhood and youth in the Amazon and studies in musicology at the Eastman School, for $5 here: https://vimeo.com/ondemand/blessedunrest/792696588. The film also features Tony-winning actor Rosemary Harris and is framed by the metaphor of the labyrinth that also culminates my book—incredibly beautifully filmed. (Film poster attached.)
I would very much welcome hearing from your audience with questions or ..
Full interview: https://youtu.be/FQxvlt44w1M
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I chat with Professor Thomas W. Posen about his recent article: "Windows into Beethoven’s Lessons in Bonn: Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776/1778)"
Article Abstract: "Beethoven’s lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been written about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav Nottebohm (1873) connected to Beethoven’s Bonn manuscripts: Johann Philipp Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven’s Bonn works including his “Elector” piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803).
From what we know of Beethoven’s studies in Vienna, several pillars of standard eighteenth-century musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger’s Grundsätze, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler’s book, he would have encountered solfeggio exercises, common thoroughbass patterns including the Rule of the Octave, invertible sequences, diminution patterns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition."
Article link: https://mtosmt.o..
Full interview: https://youtu.be/O8UnUqJ3qM4
@TiborSzasz48
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In this episode, I talk to Professor of Piano at the University of Music in Freiburg, Tibor Szász, about the completely misunderstood and mistakenly performed introductory theme at the beginning of the Mozart Fantaisie K. 475, which begins with a "unique type of three-voiced polyphony with complex voice crossings." Professor Szász uses a "reverse il filo type procedure" to unlock the correct performance practice of the piece, creating a completely new piece in the process. We discuss all this and more topics, in this episode.
Link to article:
https://mozartstudies.edituramediamusica.ro/index.php/for-readers/current-issue
@TiborSzasz48
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@TiborSzasz48
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@TiborSzasz48
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@TiborSzasz48
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Full interview: https://youtu.be/HoPrMAJiayE
@GiovannaBarbati
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@GiovannaBarbati
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@GiovannaBarbati
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Hi! I'm Nikhil and in 2018 I started a music interview podcast because I felt most interviews with musicians were poorly researched, lacking in substance, too interested in non-musical topics and non-serious in general.
I made it my mission to talk to the world's best musicians and ask them pointed lessons about how they learned their craft and get their perspectives on their areas of expertise in music. Music is so vast that we'll never get bored talking about it, but it's hard to find 1) world class talent and 2) in-depth conversations.
I've been fortunate to talk to GRAMMY winners, Emmy winners, Academy award winners, Country Music Association winners, Tony award winners and many, many more top artists. When you listen to the show, you know you'll be hearing me talking with a serious artist.