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Essays on irish music in north america
Essays on traditional irish music
Essays on traditional irish music
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Aloys Fleischmann played an influential role in the development of Irish Music in the twentieth century. With the position of the chair of the Music Department in UCC, he had the ability to give those less fortunate than others the opportunity to receive an education in music. He took up the role as Chair of the Music Department in 1936 at the early age of twenty four. He had completed his degree in UCC and a Postgraduate degree in Munich, which made him the perfect fit for the position. He made many achievements during his time in UCC which are never to be forgotten. In 1934, he founded the University Orchestra, which gave great opportunities to students to perform. As well as this in 1938, he established the Cork Orchestral Society, which held concerts in the city often. As he had a flare and a love for teaching, he set up the Music Teachers Association in 1935. This did many wonders for education, through raising the standard of teaching which in turn, improved the results of students. He had a close involvement with the Cork and Irish Ballet Group, which gave dancers, musicians and composers the opportunity to perform to large audiences. A very prominent achievement of his is the establishment of the Cork International Choral Festival in 1954. (De Barra, 2011, pg.2) Through his love of music and a massive ability to understand the needs of others, Fleischmann made the musical scene in Cork a much more vibrant and exciting one. Through the use of performance and education, he made music something that was very enjoyable and relaxing for others. He lived a simplistic life which made him approachable to all sorts of people. The following will discuss further, the methods in which Fleischmann used in order to make Irish music ...
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...onal Music Archive & The Irish Traditional Music Society, 2011)
Fischer, J; Holfter, G, Creative Influences – Selected Irish-German Biographies, (WVT
Wissenschaftlicher Verlag Trier, 2009)
Fleischmann, A 'Composition and the Folk Idiom', Ireland To-Day, 1, 6, (1936)
Fleischmann, A, Music in Ireland: A Symposium, (Cork University Press,1952)
Fleischmann, 'Ars Nova: Irish Music in the Shaping', Ireland To-Day, 1, 2, (1936)
Fleischmann interview: 'See Tomás Ó Canainn, Aloys Fleischmann in Conversation with Tomás Ó Canainn. In: Tomás Ó Canainn (ED.), The Cork Review. Cork: Triskel Arts Centre, 1992 p. 15.
Fleischmann, R, Aloys Fleischmann (1910-1992): A Life for Music in Ireland Remembered by Contemporaries, (Mercier Press, 2000).
O' Connor, John P., 1990, The Choral Music of Aloys Fleischmann, Thesis (M.A.), NUI, at Department of Music, UCC, Cork.
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
After seven hundred years of British rule, and many uprisings that ended in failure, Ireland had reached a breakthrough. This breakthrough had an affect on many different people, especially Irish musicians. The series of uprisings and wars that led to the freedom of most of Ireland developed a new form of Irish music; the rebel songs.
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. John Wallace, Simon Wright, and the Wallace Collection. Simon Wright. Nimbus Records NI5236, 2012. Streaming audio. http://naxosmusiclibrary.com.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
The history of the Concert Band and Wind Ensemble will be reflected through a timeline of events, including an analysis of significant events, groups, composers, and advancements. When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians, each with positive and negative aspects. In society today, music is greatly appreciated and accepted. It is considered an honor and a privilege to expose our ears to the music.
McGee, Timothy J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Newman, Ernest “Bach, Johann Sebastian.” The International Cyclopedia of Music and Musicians, 1985, 11th Edition, pp. 102-108
...frican American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California, 2002. 54-100. EBSCOhost. Web. 8 May 2015.
Danson, Lawrence. The Harmonies of The Merchant of Venice. Great Britain: Yale University Press, 1978. Print.
Franz Liszt is said to be the most astounding piano virtuosos that existed during the Romantic era. This essay will discuss his achievements as a pianist as well as a composer. This essay will examine his life and will examine what influenced him at an early age. It will also look at his accomplishments as a pianist as well as a composer and examine how he became as well known as he is today. It will use his background to show what exactly influenced him to become a successful pianist and composer and it will discuss how essential he was during the Romantic era.