Sinfonietta for two string orchestras

Digitoitu 16. 10. 2008.

El canto coral y las orquestas infantiles, una educación en valores = Choir singing and children’s orchestras, an education in values

This article looks at the musical activity carried out at Palafrugell Music School as a musical education centre over the past forty years. After giving a brief description of the work carried out there by vocal and instrumental groups, the article analyses and offers examples and tangible motives that use activities to show that forming part of a coral or instrumental group helps personal development and promotes the acquisition of habits, alongside musical training and learning. In short, an education in values

The Star collection of instrumental music; arranged for wind and string instruments, and for the use of small bands and orchestras.

Contains arrangements of songs, selections from operas, dances, etc.

Campus Philharmonia Orchestras December 3, 2016

Concert Program

Pop-rock musicians: Assessment of their satisfaction provided by hearing protectors

Pop-rock musicians are at risk of developing hearing loss and other symptoms related to amplified music. Aim: The aim of the present study was to assess the satisfaction provided by the use of hearing protection in pop-rock musicians. Study design: Contemporary cohort study. Materials and Methods: A study of 23 male pop-rock musicians, aged between 25 to 45 years. After audiological evaluation (pure tone audiometry, middle ear analysis, TEOAE and DPOAE) hearing protective devices were provided to be used for three months. After that musicians answered a satisfaction assessment questionnaire. Results: The prevalence of hearing loss was of 21.7%. The most common complaints about the hearing protectors were: autophonia, pressure in the ears, interference in high frequencies perception and full time use of the hearing protector during concerts. There was a positive correlation between a reduction in tinnitus after the use of the HPD with the following complaints: tinnitus after beginning the career (p=0.044), discomfort with the sound intensity in the work place (p=0.009) and intolerance to loud sound (p=0.029). Conclusions: There was a high prevalence of hearing loss and a positive tendency towards the use of the ear protector device among the sample population.

Análise da problemática da exposição dos músicos ao ruído: perceção ao ruído e determinação dos níveis de pressão sonora na prática musical em contexto escolar

A atenção face dada à problemática da perda auditiva induzida pelo ruído nos profissionais da música tem sido enfatizada estudos nos últimos anos. No entanto, no que respeita aos alunos de música, são ainda poucos os estudos que analisam esta problemática de modo a permitir compreender se estes poderão estar expostos a elevados níveis de ruído no decorrer da sua formação e desenvolver problemas auditivos. O presente estudo pretende caraterizar os níveis de pressão sonora a que alunos de música estão expostos no decorrer das aulas e analisar a perceção do risco dos mesmos e potenciais efeitos sobre o sistema auditivo. Foram analisadas duas Orquestras de Jazz e uma Orquestra Sinfónica de uma Escola Superior de Música (ESM) e de um Conservatório de Música (CM). No total foram selecionados 24 alunos de acordo com o seu instrumento, e medidos os níveis de pressão sonora em diversas aulas, ao longo de duas semanas com recurso a 8 dosímetros. Foi aplicado um questionário para a análise da perceção dos alunos ao ruído e realizados exames audiométricos para a avaliação auditiva dos alunos. Em geral, os resultados demostraram que os alunos estão expostos a níveis elevados de ruído no decurso das aulas de instrumento e ensaios. Foram obtidos elevados níveis de Lp,A,eqT na bateria, vibrafone, saxofone, trombone, clarinete e trompa. Nas três escolas, verificou-se valores mais baixos de exposição no contrabaixo, nomeadamente nas Aulas Individuais. Os valores de Lp,Cpico ultrapassaram o valor de ação inferior de 135 dB(C) na percussão e saxofone. Nas aulas teóricas os valores obtidos ultrapassaram recomendação de 35 dB(A). No que respeita à perceção dos alunos verificou-se que em geral consideram que a exposição a elevados níveis de pressão sonora não tem efeitos significativos na saúde. Apesar de se ter verificado que todos os alunos avaliados apresentam uma audição normal, tinnitus, hiperacusia, distorção e diplacusia foram identificados por um número significativo de alunos. Os resultados obtidos neste estudo refletem a necessidade de implementação de medidas de prevenção e controlo dos níveis de exposição dos alunos de música com vista a um aumento da sua consciencialização do risco.

Descobrim els clarinetistes de Barcelona : de la segona meitat del segle XIX fins la Guerra Civil

La finalitat d’aquest Projecte Fi de Grau és descobrir els clarinetistes que hi havia a Barcelona des de la segona meitat del segle XIX fins a la Guerra Civil, tant a nivell d’intèrprets com a nivell de professors. A més, ens hem proposat conèixer en quines institucions educatives aquests professors impartien les seves classes, com l’Escola Municipal de Música de Barcelona o el Conservatori del Liceu. Això ens ha portat, també, a identificar en quines agrupacions musicals desenvolupaven la seva carrera —com l’Orquestra Pau Casals, la Banda Municipal de Barcelona, l’Orquestra del Liceu o diferents orquestres de ball en les quals oferien concerts populars al llarg del territori. La metodologia utilitzada ha estat l'extracció i l’anàlisi de ressenyes hemerogràfiques i la recerca específica sobre la carrera artística del clarinetista que possiblement va realitzar a nivell estatal els primers enregistraments per a aquest instrument: en Josep Nori.

Sinfoniaorkesterin hiilijalanjälki. Case: Sinfonia Lahti

Diplomityön tavoitteena on selvittää sinfoniaorkesterin toiminnan merkittävimmät kasvihuonekaasupäästölähteet sekä kuinka kasvihuonekaasupäästöjä voidaan vähentää ja/tai kompensoida niin, että voidaan saavuttaa hiilineutraalius. Tavoitteena on myös tutkia sinfoniaorkesterin vaikutusmahdollisuudet sen sidosryhmiin. Tuloksia tarkastellaan myös globaalissa mittakaavassa, jolloin nähdään millainen vaikutus sinfoniaorkestereiden hiilineutraaliudella olisi ilmastonmuutoksen hillinnässä. Diplomityössä esitetään ensin hiilijalanjälkilaskentaa ja musiikkiteollisuutta yleisesti, jonka jälkeen selvitetään case-tutkimuksena Sinfonia Lahden hiilijalanjälki. Hiilijalanjälkilaskenta perustuu Sinfonia Lahden antamiin tietoihin, minkä lisäksi hyödynnetään diplomityön yhteydessä tehtyjen kyselyjen tuloksia. Kyselyjen tarkoituksena on selvittää sekä Sinfonia Lahden henkilöstön että yleisön matkustustottumuksia. Sinfonia Lahden henkilöstölle järjestettiin myös workshop, jossa tutustuttiin tarkemmin ilmastonmuutokseen. Hiilineutraalius saavutetaan selvittämällä toiminnasta aiheutuvat kasvihuonekaasupäästöt. Tämän jälkeen toimintaa muutetaan vähäpäästöisemmäksi ja lopuksi jäljelle jäävät kasvihuonekaasupäästöt kompensoidaan. Vaikka Sinfonia Lahden merkittävimmät kasvihuonekaasupäästölähteet ovat liikenne sekä energiankulutus, päästövähennyksiä tulee tehdä pysyvästi kaikista mahdollisista toiminnoista. Erityisen tärkeää on saada sidosryhmät osallistumaan sinfoniaorkesterin asettamiin vähennystavoitteisiin. Kompensoinnilla on merkittävä rooli hiilineutraaliuden saavuttamisessa. Tällä hetkellä maailman sinfoniaorkesterit eivät aktiivisesti pyri hiilineutraaliin toimintaan.

Niagara Symphony Orchestra fonds, 1926, 1948-1998, n.d.

In 1948, The St. Catharines Civic Orchestra was founded by Jan Wolanek who was also the first conductor. Initially, this was a community orchestra and in 1963 its governing body assumed the name St. Catharines Symphony Association. In 1978 the name was again changed to The Niagara Symphony Association to reflect regional responsibilities. Wally Laughton was named Assistant Conductor in 1952/53. R.C. Clarke took over the orchestra for an interim period after Wolanek left in 1957. In 1958 Leonard Pearlman became the Music Director. It was under his direction that the Niagara Symphony Chorus came into existence in 1963. Milton Barnes succeeded Pearlman in 1964 and he was responsible for directing the symphony’s first opera production. He also made a concerted effort to attract younger people to symphonic music. In 1972 Leonard Atherton became the Music Director. He started the Cantata Choir and the Madrigal Singers. It was under his tenure that the orchestra became professional. When Atherton left in 1980, there were three seasons of guest conductors, the most notable of these conductors was Uri Mayer. In 1981 James Vincent Fusco was appointed as composer in residence and in 1983 Ermanno Florio became the Music Director. He retained this position until 1995 when Michael Reason took over. Daniel Swift was appointed as Music Director and Conductor in 1999 and the Niagara Symphony Orchestra became the orchestr in residence at Brock University. Laura Thomas was appointed as Associate Conductor 1n 2004. Daniel Swift’s resignation in 2008 began a search for a new Music Director. Bradley Thachuck was appointed as Music Director Designate and Principal Conductor in 2010. The orchestra is a fully professional, charitable institution with 52 members.The orchestra has also been led by Victor Feldbrill and Howard Cable. A junior symphony was first formed under Leonard Pearlman in 1960/61, but it wasn’t until 1965 that The St. Catharines Youth Orchestra was founded. The orchestra has consistently been an award winner in music festivals. The musicians range in age from 12 to 18 years. The highlight of the 1973-74 season was the orchestra’s participation in the first Canadian Festival of Youth Orchestras at The Banff School of Fine Arts. The St. Catharines Youth Orchestra has evolved from the St. Catharines School String and Brass Ensembles to a full scale symphony under the direction of conductor Paul van Dongen. In 1974 the Symphony House music program came into existence. It was 1976 when Richard Grymonpre was hired as the principal violinist of the St. Catharines Symphony Orchestra and conductor of the St. Catharines Youth Orchestra. Tak Ng Lai took over the position as conductor in 1978. Laura Thomas is currently the Music Director of The Niagara Youth Orchestra. Source: Niagara Symphony, Orchestra in Residence, Brock University website and notes from Niagara Symphony files

« Autour de la musique narrative » ; « Les musiques de concert, de ballet et de film»

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Prevalencia de síntomas osteomusculares en miembros superiores y los probables factores de riesgo asociados en los estudiantes de musica en una institución universitaria de Bogotá,Colombia, 2013

Los músicos por su práctica instrumental tienen una alta demanda de desempeño físico, especialmente de los miembros superiores y están expuestos a varios factores de riesgo biomecánico que pueden resultar en problemas de salud. Objetivo: determinar la prevalencia de sintomatología osteomuscular de miembros superiores y los probables factores de riesgo asociados, en los estudiantes expuestos a la actividad musical durante el segundo semestre del año 2013 en una institución universitaria de Bogotá, Colombia. Método: se realizó un estudio descriptivo de corte trasversal en 134 estudiantes de todos los semestres de música en una institución universitaria. Se aplicó el Cuestionario nórdico estandarizado para análisis de síntomas músculo esqueléticos y una encuesta ad hoc que contemplaba aspectos sociodemográficos y antecedentes académicos, patológicos, factores de exposición y hábitos. Resultados: Las prevalencias generales encontradas en el estudio, son similares a las que refieren algunos estudios revisados que contemplan ciertas variables afines a las que se estudiaron. La prevalencia de síntomas osteomusculares cervico-braquial fue de 77.9%. La prevalencia de molestias en cuello fue mayor en las mujeres (64.3%) que en los hombres (37.4%) (OR=3.02, IC 95%=1.26, 7.18). La prevalencia de síntomas en manos/muñecas que le impidió hacer su trabajo en los últimos 12 meses fue mayor en los estudiantes que refirieron alguna enfermedad (29.4%) que en los que no la manifestaron (10.2%), (OR=3.69, IC 95%=1.34, 10.19). La prevalencia de molestias en cuello que les impidió hacer su trabajo en los últimos 12 meses fue mayor en los estudiantes que practicaron algún pasatiempo con sus brazos (10.4%) versus los que no lo practicaron, cuya frecuencia fue 0.0%. Los instrumentos musicales de mayor práctica fueron cuerda y percusión y se asociaron a prevalencia de síntomas osteomusculares cérvico-braquiales con una distribución por segmentos similar. Los tiempos de práctica semanales y la antigüedad en la práctica, conduce a síntomas cervico-braquiales. Conclusiones: Este estudio coincide con la distribución de las prevalencias encontradas en poblaciones de estudiantes de música revisadas, con respecto a la sintomatología, a los segmentos cervico-braquiales de mayor afectación, a la significancia del género femenino con respecto al masculino, al tipo de instrumentos y a los tiempos de práctica entre otros. Esto plantea la necesidad de educar a nuestros músicos en la detección temprana de síntomas desde su formación de pregrado o quizás mucho antes.

La música a la ciutat de Girona (1888-1985)

La tesi és una investigació histórica que presenta el fet musical a la ciutat de Girona, i inclou una paronòmica general de la història musical de les principals poblacions de les seves comarques: Olot, Figueres, Banyoles. ripoll, La Bisbal d'Empordà, Sant Feliu de Guíxols, etc. Està organitzada metodològicament en un marc cronològic i una metodologia positivista, intentant reflexar la verdadera història de la música a la ciutat de Girona amb tots i cadascun dels seus personatges i les seves institucions. La recerca s'emmarca al voltant de les corrents artístiques i polítiques de cada moment: Modernisme, Noucentisme, República, Guerra Civil, Franquisme i Democràcia. De cadascuna d'ella s'ha investigat sobre les orquestres, les cobles i les sardanes, els grups de música de cambra, la música en els cafès, la música en la intimitat de les cases particulars, el desenvolupament laboral de la professió musical a travès de la història del Sindicat i la Mútua de Músics, les sales de ball, els cinemes amb música en directe, els crítics musicals, etc. La recerca porta a la conclusió final de què l'època de millor esplendor, de més qualitat i també quantitat de música a la ciutat i comarques, i que ha viscut un millor ambient musical en tota la història, és el període que va des de principis del segle XX fins a l'esclat de la Guerra Civil (1900-1936)

Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance

My research examines the recorded performance history of the Overture to Weber’s Oberon in light of these aesthetic goals. I have charted changes in performance practice trends, including in timing, tempo fluctuation, rhythmic accuracy and ensemble, and the use of portamento. The twenty recordings studied that I surveyed span nearly seventy-five years, and include many of the 20th century’s most prominent conductors and orchestras, including groups from Communist Russia, both pre-World War II and post-World War II continental Europe, the British Isles, and the United States.8 Though by no means comprehensive, my selections encompass a diverse sampling of surviving recordings, ensuring a large enough sample size to reflect general trends in the performance of Weber’s masterpiece. My research and analysis confirms the conventional view of a move toward more accurate—but also more cautious, uniform, and inexpressive— performances. Surprisingly, however, this analysis also suggests that we are on the cusp of a new era in orchestra performance practice, one that shares many of the values of the earlier recorded performances. While maintaining today’s high standards of execution, modern performances now look to regain many of the past’s expressive qualities, doing so in sometimes surprising ways.

Bandas de música, escolas de vida

The focus of this dissertation is to understand the child and youth musical learning trajectory by using two philharmonic orchestras from Seridó, an area in the interior of Rio Grande do Norte. One is called the Hermann Gmeiner Philharmonic Orchestra of Aldeias Infantis SOS Project from Caicó, and the other is the 24 de Outubro Philharmonic Orchestra from Cruzeta. It emphasizes the singular relationship between the band s master and his students, based on a permanent interaction with tradition, creativity and change, resulting from a shared educational process. The idea that unites the work of these two communities is the gamble about the individual's formation as a complex human being, which it is not just concerned with the learning of a musical instrument, but is, more importantly, an educational process capable of facilitating the discovery of the self, others and society. The history and the course of the musical education of these two experiences were facilitated using a base of semi-structured interviews of the bands masters, students and people from two municipal districts. Their history is understood through analysis of the band s pictures and the theoretical-social approach is governed by the complexity idea expressed by Edgar Morin. For the author, complex means to `weave together`; therefore it is multidimensional, and it creates a dialogue about several domains and aspects that occur on the same phenomenon. The complex always supposes creativity and the relationship between the subject s reason and affectivity

Guerra-Peixe: arranjador de orquestras de rádio

Revisão biográfica sobre o músico brasileiro Guerra-Peixe e sua carreira como arranjador de orquestras de rádio. Objetiva-se compreender como compositores clássicos, como Guerra-Peixe, encontraram na esfera popular um meio de vida. Inclui dados biográficos pouco conhecidos sobre o compositor.