In DJing , phrasing , also called stage matching , refers to alignment of phrase music phrase s of two tracks in a mix. This allows the transition between the tracks to be done without breaking the musical structure. Phrasing is an aspect of beatmixing , not a separate technique. Because most electronic dance music tracks have 4 4 time signature and a simple structure of 16 bar phrases, to align the phrases of two tracks it is often enough to start the track to be mixed in at a phrase boundary in the track currently playing. Careful phrasing can produce a seamless mix by making the breaks in two tracks coincide, or aligning the break in one track with the start of the beat in the other. See also Beatmatching Beatmixing Segue References http music.hyperreal.org dj AVH Advanced.html stage Stage Matching from the http music.hyperreal.org dj AVH Advanced Vinyl Handling DJing tutorial music stub Category DJing ... more details
Tom Sawyer is the title song of the movie by the same name Tom Sawyer 1973 film Tom Sawyer . It was written by Robert B. Sherman and Richard M. Sherman and is an example of three part counterpoint . It is sung by Aunt Polly Celeste Holm , Cousin Sidney Joshua Hill Lewis ref http www.imdb.com name nm0507391 ref and Cousin Mary Susan Joyce ref http www.imdb.com name nm0431608 ref . Musically and lyrically, each character s part of the counterpoint reflects the personality of its respective character. Mary s attitude is forgiving toward Tom subsequently her phrasing is legato. Sidney is a snitch who enjoys Tom get into trouble. His musical phrasing is written as a string of tattles . Aunt Polly Celeste Holm ref http www.imdb.com name nm0002141 ref bursts in rage at each subsequent discovery of Tom s mischief. Similarly, this is reflected in the phrasing of her lyrics. Seamlessly the three parts come together, both thematically and harmonically. Stylistic Lyrically, the Sherman Brothers follow the dialogue stylings of Mark Twain very closely. Twain, himself was a student of dialect, making his original book anthropologically and sociologically significant. The film script and lyrics offer similar linguistic authenticity. References references DEFAULTSORT Tom Sawyer 1973 Song Category Songs from Tom Sawyer Category 1973 songs Category Songs written by the Sherman Brothers ... more details
Call and response is a form of communication. Call and response may also refer to In music Call and response music , a type of musical phrasing or structure Coro preg n or Call response , a genre of music Call and Response band , a Californian pop group Call and Response The Remix Album , an album by Maroon 5 Call & Response , a song by Source Direct from Controlled Developments In film Call Response , a 2008 documentary about the human slave trade In literature Call and Response The Riverside Anthology of the African American Literary Tradition , a literature anthology Call and Response , a novel by T. R. Pearson disambig pt Chamada e resposta desambigua o ... more details
Return to sender is a common phrasing used when undeliverable mail is processed to be sent back to the indicated return address . It may also refer to Return to Sender song Return to Sender song , a 1962 Elvis Presley song Return to Sender film Return to Sender film , a 2004 film, starring Aidan Quinn, Connie Nielsen, Tim Daly and Kelly Preston Return to Sender Dexter Return to Sender Dexter , a 2006 episode of the television series Dexter Return to Sender , a webcomic by Return to Sender webcomic Vera Brosgol Operation Return to Sender disambiguation de Return to Sender ... more details
original research Summary Information Description Visual depiction of rhythmic and chordal cycle for Radiohead s Pyramid Song . With minor changes, this pattern persists throughout the entire song. The five note, 3 3 4 3 3 pattern is visible. Source Own Work Date 2006 12 27 Author Matthew D. Thibeault Permission Creative Commons, Attribution ShareAlike 2.5 Licensing cc by sa 2.5 Comment and Extension The displayed rhythm is correct verified by measuring, with audio software, time distances between the notes in the original song . However, the 16 8 meter does not account for a the phrasing of the song s lyrics, b the stress pattern of drums, bass, and other instruments, and c the piano s chord changes especially in the F min E9 section . A pattern of 6 8, 10 8, 10 8, 6 8 appears to account for those additional features. Here is an attempt to display the relationship between chords, bars, and lyrics http commons.wikimedia.org wiki Image Pyramid meter.jpg p I agree that the 16 8 meter does not work. That would mean that there are 16 beats per bar, with the 8th note getting one count. This is clearly not the case. The note values in the figure on this page do work if counted in an x 4 meter with the quarter note getting one count , but that does not explain the phrasing whatsoever. It s true that stress patterns and phrasing must be taken into account, however, the pattern shown in foregoing link which tries to account for all of these doesn t posit any meter, it just tries to squeeze 16 counts into each phrase with no indication of note values. My version does take all these things into account, and results in 3 4 2 4 3 4 which is repeated over and over. Listen to things like the kick drum which drummers will almost always place on the 1 , as well as when the chords change. The overall pattern is almost chiastic, or rather a mirror image of itself. 3 2 3 3 2 3 3 2 3 3 2 3 although, admittedly, calling it a chiasmus is possibly a stretch. Then again, chiasmus is often s ... more details
Other uses Phrase disambiguation In music and music theory , phrase and phrasing are concepts and practices related to grouping consecutive melodic note s, both in their musical composition composition and performance . A musical work is typically made up of a melody that consists of numerous consecutive phrases. Musical phrase theoretical concept A music al wikt Phrase phrase lang gr sentence, expression , see also strophe is a unit of Meter music musical meter that has a complete musical sense of its own, ref Falk 1958 , page 11, Larousse cited in Nattiez, Jean Jacques 1990 . Music and Discourse Toward a Semiology of Music Musicologie g n rale et s miologue , 1987 . Translated by Carolyn ... and elision. The act of shaping a phrase during performance is called musical phrasing and considered an art. Musical phrasingPhrasing refers to an expressive shaping of music, and relates to the shaping of notes in time. Phrasing relates to the manner of playing the individual notes of a particular ... to end phrases rubato, etc. Phrasing is sometimes also taken to include aspects of musical shaping ... in sheet music. Intuitive versus analytical approach to phrase phrasing There are two ways manners in which phrase phrasing can be approached intuitive, or analytical. quote There are two schools of thought on phrasing, one more intuitive, the other more analytical. The intuitive school uses a verbal model, equating the function of phrasing with that of punctuation in language. Thus, said Chopin ... phrasing . Problems linked with an analytical approach to phrase, occur particularly when .... 1921 by Anne Shaw Faulkner http www.archive.org stream cu31924022388593 page n306 mode 1up search phrasing Aspects of phrasing in the context of singing The American history and encyclopedia of music ... The Art of Phrasing Dwight s Journal of Music 1878 altern. http www.archive.org stream dwightsjournalm17dwiggoog ... mode 1up 2 http www.archive.org stream lessonsinvocalex00curr page 73 mode 1up Phrasing from Lessons ... more details
Unreferenced date December 2009 Orphan date February 2009 Mallet dampening is a vibraphone technique that facilitates legato phrasing on the instrument. It is accomplished by striking a note on one of the bars of the instrument while the pedal is depressed and then using the head of the same or another mallet to stop the vibrations of the bar without raising the pedal. There are many benefits of being proficient in this technique as a vibraphonist . As it allows a player to hold out one chord and add or subtract any individual pitch desired, a vibist can transition between chords much more smoothly than a pianist who cannot stop a string from vibrating without reaching inside the instrument when the pedal is down. Most modern vibraphonists are highly skilled in this technique. DEFAULTSORT Mallet Dampening Category Music performance ... more details
Letters and Papers of the Reign of Henry VIII , edited by James Gairdner , is a twenty four volume collection of documents from the reign of Henry VIII of England . Surviving documents from various archives, the Public Record Office , and reliable older publications are presented in date order with a volume reference number. The texts are slightly modernised and edited with some explanatory footnotes. Undated documents are printed at the end of the apparent month or year. Grants and payments from accounts are also inserted at the end of their respective months. The earlier Royal commission State Papers of Henry VIII , 11 vols, 1830 1852 is not wholly superseded because the editors of that series tried to reproduce the original phrasing and orthography of the selected letters. External links http www.british history.ac.uk catalogue.aspx?gid 126&type 3 Presentation of Letters & Papers by British History Online hist book stub Category History books about the United Kingdom Category Henry VIII of England ... more details
Timothy Hutchins is a Canada Canadian classical flute player. ref name PG cite journal url http news.google.com newspapers?id 6wcwAAAAIBAJ&sjid lHADAAAAIBAJ&pg 6706,4793925&dq timothy hutchins&hl en title Flutist s skillful phrasing a rare treat work Pittsburgh Post Gazette date January 29, 2004 first Andrew last Druckenbrod accessdate March 14, 2010 ref Principal flute of the Montreal Symphony Orchestra ref name PG since 1978, Timothy Hutchins has received international critical acclaim for his work as a concerto soloist, as a duo recitalist with his wife, pianist Janet Creaser Hutchins, and as a chamber musician. He has appeared extensively as soloist with the OSM notably with Charles Dutoit. Timothy Hutchins has appeared as guest principal with the Boston Symphony Orchestra with Seiji Ozawa , Vladimir Ashkenazy , and with Leonard Bernstein at the latter s last appearance, recording Beethoven s Symphony No. 7 Beethoven Seventh Symphony at Tanglewood . As guest principal he has performed and toured with the New York Philharmonic under Zubin Mehta and Kurt Masur . He was principal flute of the Pittsburgh Symphony Orchestra for the 2003 04 season. ref Andrew Druckenbrod, Flutist s skillful phrasing a rare treat Pittsburgh Post Gazette Thursday, January 29, 2004 ref Mr. Hutchins is professor of flute at McGill University . Many of his students perform with leading orchestras around the world. References reflist Persondata Metadata see Wikipedia Persondata . NAME Hutchins, Timothy ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Hutchins, Timothy Category Canadian classical flautists Category Living people Category Date of birth missing living people Category Place of birth missing living people Canada classical musician stub flautist stub ... more details
Expert subject Education date February 2009 Unreferenced date December 2007 Inappropriate tone date December 2007 Instructional capital is a term used in educational administration after the 1960s, to reflect capital economics capital resulting from investment in producing learning materials. Some have objected to this phrasing, which is an elaboration of referring to training as human capital , either for the same reason that phrase is objectionable, or on the grounds that it implies that the human in which the knowledge is invested is a resource to be exploited. Instructional capital can be used to guide or limit or restrict action by people individual capital or equipment infrastructural capital if the learning materials are computer program s . It cannot generally make either individuals or infrastructure do what they are not trained or designed to do, but it can help prevent them from doing most stupid, destructive and dangerous things. When people begin to trust instructions, they tend to associate social capital with them, as symbolized by a brand , flag or label . This usually opens up a possibility for those with power to start cheating and or creating bad instructions that can no longer be trusted, but the good reputation of the brand, flag or label protects them from being caught for longer than would be the case without the symbol that is associated with good reputation. Types of capital education stub Category Education finance Category Capital ... more details
for the song by Cocteau Twins Tishbite song Tishbite is a word used in the Bible to refer to Elijah Bibleverse 1 Kings 17 1 HE , Bibleverse 1 Kings 21 17 28 HE , Bibleverse 2 Kings 1 3 8 HE , Bibleverse 2 Kings 9 36 HE . The phrasing can be reworded as Elijah the Tishbite of Tishbe in Gilead . The word is sometimes interpreted as stranger, so that the verse might read Elijah the stranger from among the strangers in Gilead. This designation is probably given to the prophet as denoting that his birthplace was Tishbe , a place in Upper Galilee mentioned in the deuterocanonical Book of Tobit , Bibleverse Tobit 1 2 NAB . Josephus , the Jewish historian Ant. 8 13, 2 , however, supposes that Tishbe was some place in the land of Gilead. It has been identified by some with el Ishtib, a place 22 miles due south of the Sea of Galilee , among the mountains of Gilead . eastons Category Hebrew Bible people Category Elijah Tanakh stub ... more details
Matthias Goerne born 1967 is a Germany German baritone . Born in Weimar , he studied with Hans Joachim Beyer, Dietrich Fischer Dieskau and Elisabeth Schwarzkopf . His repertoire spans a wide range of music, from baroque to contemporary, but above all he is a celebrated lied er singer. His discography includes award winning recordings of Gustav Mahler Mahler and Franz Schubert Schubert song cycles. Goerne is especially known for his beauty of tone, thoughtful phrasing, commitment to legato singing and impeccable German diction. He is a recipient of the Wigmore Hall Wigmore Hall, London , medal. ref name Wigmore http www.wigmore hall.org.uk about us news ?action detail&id 31 Wigmore Hall website 110th anniversary and medal presentation ref References Reflist External links http www.matthiasgoerne.de Official homepage in German Persondata Metadata see Wikipedia Persondata . NAME Goerne, Matthias ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH 1967 PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Goerne, Matthias Category 1967 births Category Operatic baritones Category German opera singers Category Living people Category Felix Mendelssohn College of Music and Theatre alumni Category Honorary Members of the Royal Academy of Music germany opera singer stub de Matthias Goerne es Matthias Goerne fr Matthias Goerne ... more details
Mick Hoy , singer, fiddler , composer, ref http www.billboard.com bbcom discography index.jsp?pid 684701&aid 982032 ref and storyteller, was born in Monea in County Fermanagh , Northern Ireland . He lived most of his life in Blaney and played mainly in Derrygonnelly . Mick came from a musical family but stood out as the main talent with his huge repertoire of tunes and songs. His singing style was subtle with beautiful use of glottal stops and variations in phrasing. One of the finest fiddlers of his generation, his powerful style was an interesting blend of Northern and Southern elements. He had a stock of distinctly local tunes, many of which he got from his old friend, the great flute player, Eddie Duffy . References reflist Persondata Metadata see Wikipedia Persondata . NAME Hoy, Mick ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Hoy, Mick Category Irish fiddlers Category Irish folk singers Category Musicians from Northern Ireland Category People from County Fermanagh Category Living people NI bio stub ... more details
Silent Running may refer to Silent running submarine , a stealth mode of operation for submarines Silent Running , 1972 science fiction film directed by Douglas Trumbull which includes the song Silent Running written by Peter Schickele and Diane Lampert Silent Running Belfast band , an Northern Irish rock band, originally called The Setz Silent Running My Years on a World War II Attack Submarine , memoir by Vice Admiral James F. Calvert, USN Ret. Silent Running On Dangerous Ground Silent Running On Dangerous Ground , 1985 song by Mike The Mechanics Silent Running , a song on the 2002 album The Wheel of Time album The Wheel of Time by Sandra Cretu Silent Running , a song on the 2003 album Hydroponic Garden album Hydroponic Garden by the band Carbon Based Lifeforms Silent Running , a song from the 1980 album Dumb Waiters by The Korgis See also Run Silent, Run Deep disambiguation , another phrasing of the term silent running disambiguation ... more details
Wikify date January 2011 Jonathan Bratoeff is a London based guitarist. Born in France, ref cite web title Jonathan Bratoeff, Between Lines last Fordham first John publisher The Guardian url http www.guardian.co.uk music 2005 jun 10 jazz.shopping1 accessdate 2010 03 30 date 2005 06 10 ref Bratoeff is a member of the F IRE Collective . He has released several albums on the F IRE Collective s own label. ref cite web title Chapters Jonathan Bratoeff & Chris Vatalaro last May first Chris publisher All About Jazz url http www.allaboutjazz.com php article.php?id 33506&recommended 1 accessdate 2010 03 30 date 2009 07 20 ref Reviews Brato ff s brittle phrasing and rhythmic energy put him up there with leading UK guitarists br John Fordham, Guardian. Brato ff s voice is touched by an enigmatic, introspective quality and stands out on a set of sombre, serpentine elegance . br Kevin Le Gendre, JazzWise References reflist Persondata Metadata see Wikipedia Persondata . NAME Bratoeff, Jonathan ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH PLACE OF BIRTH DATE OF DEATH PLACE OF DEATH DEFAULTSORT Bratoeff, Jonathan Category Living people Category English jazz guitarists Category French jazz guitarists UK guitarist stub jazz guitarist stub UK jazz musician stub ... more details
And The Green Grass Grows All Around , also known as The Green Grass Grew All Around is a song that was first published in 1912 ref name Egan Egan, Bill 2004 . Google books n3IRgH2wLcwC Florence Mills Harlem Jazz Queen . Scarecrow Press. page 16. ISBN 0810850079 ref ref name axford Axford, Elizabeth C. 2004 . Google books mNv9kAuTDTIC Song Sheets to Software A Guide to Print Music, Software, and Web Sites for Musicians . Scarecrow Press. page 20. ISBN 0810850273 ref , with words by William Jerome ref name axford and melody by Harry Von Tilzer ref name Egan . Today it is a popular children s song , and a good example of a cumulative song . There are many variations of phrasing in the lyrics. Most versions tell a similar story of a pretty hole in the middle of ground, and of all the surroundings. It need not be a hole in the ground. One such version by The Singing Kettle contains the lyrics There was a tree, a beautiful tree, The beautiful est tree you ever did see . References reflist Category 1912 songs Category Children s songs Category American songs Category Songs with lyrics by William Jerome Category Songs with music by Harry Von Tilzer ... more details
Song infobox Name Circles Cover Artist Joe Satriani Album Surfing with the Alien Released 1987 track no 7 Recorded Genre Length 3 27 Writer Joe Satriani Label Producer Chart position Background prev Hill of the Skull prev no 6 next Lords of Karma next no 8 Circles is a song by the USA American guitarist Joe Satriani , featured on his 1987 album Surfing with the Alien . This song is often cited as one of the fans favorite songs from the album. ref http www.ultimate guitar.com news upcoming releases joe satriani surfing with the alien reissue.html ref ref http www.amazon.com Surfing Alien Joe Satriani dp B000002BWL ref The piece starts with a mellow melody featuring undershot harmonics played in double stop . ref name modernguitar http www.modernguitars.com archives 003472.html ref At 1 00 the song quickly shift to a rock Guitar solo solo featuring a Phrase music phrasing using tapping , legato s and blues lick music licks . ref name modernguitar Notes reflist Joe Satriani 1980s rock song stub Category 1987 songs Category Joe Satriani songs fr Circles chanson de Joe Satriani ... more details
File J r me Joseph de Momigny.jpg thumb J r me Joseph de Momigny J r me Joseph de Momigny 20 January 1762 ndash 25 August 1842 was a Belgian French composer and music theorist. He was born in Philippeville , Belgium , and composed music and wrote books, which he printed himself. He was very good at writing poetry and other types of books. His theories about rhythm and musical phrasing were ahead of his time. From 1803 to 1806 he published his most notorious work Cours complet d harmonie et de composition, d apr s une th orie neuve et g n rale de la musique in 3 volumes . It features, among others, a new theory about the significance of the upbeat over the downbeat, which was later taken up by Hugo Riemann . Stressing the upbeat instead of the downbeat as commonly taught, gives a jazz like and fluid quality to all music. This upbeat phrasing is one of the main characteristics of jazz, but a few classical interpreters use it as well. He died in France in 1842 in the Charenton asylum. Bibliography Albert Palm, J r me Joseph de Momigny Leben und Werk, Ein Beitrag zur Geschichte der Musiktheorie im 19. Jh. , K ln, Arno Volk Verlag, 1969 Glenn Gerald Caldwell, Harmonic Tonality in the Music Theories of Jerome Joseph Momigny , 1762 1842 Studies in the History and Interpretation of Music, v. 79 2001 Jacques Chailley, Un grand th oricien belge m connu de la musique J J de Momigny , Bruxelles, 1966 Persondata Metadata see Wikipedia Persondata . NAME Momigny, Jerome Joseph de ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH 20 January 1762 PLACE OF BIRTH DATE OF DEATH 25 August 1842 PLACE OF DEATH DEFAULTSORT Momigny, Jerome Joseph de Category 1762 births Category 1842 deaths Category People from Philippeville Category Belgian composers Category Walloon people Category Belgian music theorists Belgium composer stub music theory stub de J r me Joseph de Momigny fr J r me Joseph de Momigny sl J r me Joseph de Momigny ... more details
ToBI Tones and break indices is a set of conventions for transcribing and annotating the Prosody linguistics prosody of speech. ToBI is sometimes used to refer to the conventions used for describing English specifically ref Beckman, M. E., Hirschberg, J., & Shattuck Hufnagel, S. 2005 . The original ToBI system and the evolution of the ToBI framework. In S. A. Jun ed. Prosodic Typology The Phonology of Intonation and Phrasing ref , but ToBI systems have been defined for a number of other languages, for example J ToBI refers to the ToBI conventions for Tokyo Japanese ref Venditti, J. J. 2005 . The J ToBI model of Japanese intonation. In Sun Ah Jun ed. Prosodic Typology The Phonology of Intonation and Phrasing , pp. 172 200. ref . Overview A ToBI transcription minimally indicates the intended prosodic grouping of an utterance and its tonal events. For example, the sentence Mary went to the store to get some milk may be produced with a slight break after store , indicating that this sentence consists of two smaller units Mary went to the store to get some milk . The English ToBI standard distinguishes four levels of boundary strength, corresponding roughly to breaks between constituents at different levels of the phonological hierarchy Prosodic Hierarchy ref Selkirk, E. 1984 . Phonology and syntax. MIT Press Cambridge. ref ref Nespor, M. and I. Vogel. 1986. Prosodic Phonology. Foris. ref . One signal of boundary strength is lengthening of the preceding syllable the stronger the boundary, the more lengthening of the preceding syllable ref Wightman, C. W., Shattuck Hufnagel, S., Ostendorf, M., & Price, P.J. 1992 . Segmental durations in the vicinity of prosodic phrase boundaries. Journal of the Acoustical Society of America , 91 3 , 1707 1717. ref . Tonal events include both pitch accent s and boundary tones. Pitch accents, written as combinations of H and L tones high and low, respectively , are typically realized on words that carry the most information in a sentence. F ... more details
Unreferenced date February 2009 Original research date May 2008 Beatmatching or Beatmaxing is a disc jockey technique of pitch shift ing or timestretching a track to match its tempo to that of the currently playing track e.g. the kicks and snares in two house records hit at the same time when both records are played simultaneously. Beatmatching is a component of beatmixing mixing which employs beatmatching combined with equalization, attention to phrasing and track selection in an attempt to make a single mix that flows together and has a good structure. The technique was developed to keep the people from leaving the dancefloor at the end of the song. These days it is considered basic among DJs in electronic dance music genres, and it is standard practice in clubs to keep the constant beat through the night, even if DJs change in the middle. Beatmatching is no longer considered a novelty, and new digital mixers have made the technique much easier to master. Technique The beatmaxing or beatmatching technique consists of the following steps While a record is playing, beatmatch a new record to it, using headphones for monitoring. Use gain or trim control on the mixer to match the levels of the two records. Restart and slip cueing slip cue the new record at the right time, begin the new record on beat with the record currently playing. Pay attention to track structures careful phrasing DJ phrasing can make the mix seamless. If the beat on the new record hits before the beat on the current record then the new record is too fast, reduce the pitch and manually slow the speed of the new record to bring the beats back in sync. If the beat on the new record hits after the beat on the current record then the new record is too slow, increase the pitch and manually increase the speed of the new record to bring the beats back in sync. Continue this process until the two records are in sync with each other, it can be difficult to sync the two records perfectly, so manual adjustmen ... more details
refimprove date July 2010 Ralph Kirkpatrick June 10, 1911 ndash April 13, 1984 was an American musician, musicologist and harpsichord ist. He is most famous for his chronological catalog of Domenico Scarlatti s keyboard sonatas. Life and work Kirkpatrick was born in Leominster, Massachusetts . He studied Art History at Harvard University and went on to further studies with Nadia Boulanger and harpsichord revival pioneer Wanda Landowska in Paris , as well as Arnold Dolmetsch in Haslemere , Heinz Tiessen in Berlin and G nther Ramin in Leipzig . From 1933 to 1934, he taught at the Mozarteum in Salzburg , Austria . A Guggenheim Scholarship later enabled him to study manuscripts and sources in Europe. From 1940 he was a professor at Yale University , where he published his biography of Domenico Scarlatti and a critical edition of Scarlatti s complete works 1953 . These are now conventionally designated by their Kirkpatrick numbers shown as Kk. , and more recently with a single K. , which is now considered the standard, authoritative numbering system for Scarlatti s keyboard sonatas despite at least two rival systems see opus number . Kirkpatrick made a number of recordings of the harpsichord works of Johann Sebastian Bach Archive recordings . He also produced an edition of Bach s Goldberg Variations 1938, G. Schirmer, Inc. New York 37149 which includes extensive discussion of ornamentation, fingering, Musical phrasing phrasing , tempo, dynamics, and general interpretation. He also authored the posthumous Interpreting Bach s Well Tempered Clavier A Performer s Discourse . Kirkpatrick also played modern music, including Quincy Porter s Concerto for Harpsichord and Orchestra, Darius Milhaud s Sonata for Violin and Harpsichord, and the Double Concerto for Harpsichord, Piano and Chamber Orchestra by Elliott Carter , which was dedicated to him. As a performer and recording artist, he became best known for his harpsichord performances of the keyboard music of Bach and Scarlatti ... more details
File Bundesarchiv B 145 Bild F023358 0012, Empfang in der Landesvertretung Bayern, Hallstein.jpg thumb Ingeborg Hallstein, 1966 Ingeborg Hallstein born 23 May 1936 in Munich is a Germany German opera tic coloratura soprano . She studied with her mother Elisabeth Hallstein and debuted at the opera house in Passau Germany in 1957 as Musetta in Giacomo Puccini Puccini s La boh me . After engagements at the Theatre of Basel and the Staatstheater am G rtnerplatz in Munich she made her Salzburg Festival debut in 1960 as Rosina in Wolfgang Amadeus Mozart Mozart s La finta semplice . The same year she joined the Bavarian State Opera , a full member there from 1961 until 1973. International career In the following years guest appearances led her to almost every important opera house in the world, including among others Deutsche Oper Berlin , Hamburg State Opera , La Fenice Teatro La Fenice in Venice and the Teatro Col n in Buenos Aires. She also sang at the Royal Opera House in London under Otto Klemperer and created one of her signature roles for the reopening of the Theater an der Wien under the baton of Herbert von Karajan the Queen of the Night in Mozart s The Magic Flute . Her repertoire of operatic roles reveals an artist who has an accurate and smart sense of her own musicianship. Her voice was well focused and she was capable of commanding dramatic Musical phrasing phrasing and emotional expression. In opera she sang some of the most demanding roles in the coloratura Fach , e.g. Zerbinetta in Richard Strauss Ariadne auf Naxos , Violetta in Giuseppe Verdi Verdi s La traviata , Zaide in Mozart s Zaide and the already mentioned Queen of the Night in The Magic Flute . Apart from her appearances on the opera stage she devoted herself to the Lied , giving countless Lieder recitals in Germany and abroad. Teaching In 1979 she was appointed professor at the Music Conservatory in W rzburg . After initial doubts, teaching became her new passion and she decided to retire fr ... more details
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