| Madrigal Pavane / Timburibá [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287). ISBN
9782898522048. AntÃ
´nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio LuÃs de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino Ã
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient Ã
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né Ã
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales Ã
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
LuÃs de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses Å“uvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition Ã
l'Instituto Nacional de
Música, en 1902. Là ,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
Å“uvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses Å“uvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'Å“uvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 Ã Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjÃ
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Connecting Practice, Measurement, and Evaluation GIA Publications
SKU: GI.G-9140 Selected papers from the Fifth International Symposium ...(+)
SKU: GI.G-9140
Selected papers from
the Fifth International
Symposium on Assessment
in Music Education.
Edited by Timothy S.
Brophy. Assessment. Music
Education. 608 pages. GIA
Publications #9140.
Published by GIA
Publications (GI.G-9140).
ISBN 9781622771783.
English. With
Contributions byFrank
Abrahams ÂÂ
 Michael L.
Alexander ÂÂ
 Kimberly Lansinger
AnkneyEdward
Asmus   Rafael
Guerini Atolini ÂÂ
 William BauerElaine
Bernstorf ÂÂ
 Leonardo
Borne   Pamela
BurnardFrederick
Burrack   Paul
Chapin ÂÂ
 Jian-Jun
Chen-EdmundWilliam
Cirullo ÂÂ
 Richard
Colwell ÂÂ
 Rachel E.
CopelandBaisheng
Dai   Paul F.
Doerksen ÂÂ
 Cláudia Elisiane
Ferreira dos SantosDavid
Edmund ÂÂ
 Jian-Jun
Chen-Edmund ÂÂ
 Jan EdwardsGeorge
Engelhard, Jr. ÂÂ
 José Carlos
Godinho   Sandy
GoldieChristina
Haaf   Dee
Hansen   Jason
HawkinsMichele L.
Henry   René
Human   Ryan
JohnSangmi Kang ÂÂ
 Don Lebler ÂÂ
 Kathleen A.
MelagoJennifer S.
McDonel   M.
David Miller ÂÂ
 Tobias S. MonteGlenn
Nierman ÂÂ
 Helena de Souza
Nunes   Denese
OdegaardDouglas C.
Orzolek   Kelly
A. Parkes ÂÂ
 Phillip PayneJohn
Peasant, Jr. ÂÂ
 Jared R.
Rawlings   Gary
K. RitcherMaria Gleice
Rodrigues ÂÂ
 Maria Runfola ÂÂ
 Shelley
SandersonEdilson
Schultz ÂÂ
 Ronald G.
Sherwin   Scott
C. ShulerTimothy W.
Smith   Nathan
St. Pierre ÂÂ
 Stephanie
StanderferCynthia L.
Wagoner ÂÂ
 Dennis Ping-Cheng
Wang   Jeffrey
WardBrian C.
Wesolowski ÂÂ
 Stefanie A.
Wind ÂÂ
 Chia-Chieh WuBrian C.
Wuttke   Hyesoo
YooThe 5th International
Symposium on Assessment
in Music Education was
hosted by the University
of Florida, James Madison
University, and The
Shenandoah Conservatory
of Shenandoah University.
The symposium brought
together 288 participants
from 17 nations and six
continents to learn of
each other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education in
Williamsburg, Virginia,
from February 18-21,
2015. The four keynote
addresses and 37 papers
published in this volume
document music assessment
practice and the
measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to discuss
the key questions of the
symposium, and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work.About
the EditorsTimothy S.
Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville. Florida.
Jeffrey Marlatt is
Associate Professor of
Music Education and
Assistant Dean for
Student Learning,
Director of Music
Education, and holds the
Charlotte A. & Verne E.
Collins Endowed
Professorship at the
Shenandoah Conservatory
of Shenandoah University,
Winchester, Virginia.
Gary Ritcher is Professor
and Coordinator of Music
Education at James
Madison University,
Harrisonburg,
Virginia. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Context Matters GIA Publications
SKU: GI.G-9684 Selected Papers from the Sixth International Symposium ...(+)
SKU: GI.G-9684
Selected Papers from
the Sixth International
Symposium on Assessment
in Music Education.
Composed by Martin
Fautley and Timothy S.
Brophy. Assessment. Music
Education. 550 pages. GIA
Publications #9684.
Published by GIA
Publications (GI.G-9684).
ISBN
9781622773350. Cont
ributions by: Michael
L. Alexander •
William I. Bauer •
Rhoda Bernard •
Nikki Booth •
Leonardo Borne •
Frederick Burrack •
Richard M. Cangro •
Kyle Chandler •
Samantha Clements •
Obadias de Oliveira Cunha
• Sally E. Daunt
• Kirsty J. Devaney
• Paul Doerksen
• Martin Fautley
• Keith Griffioen
• Alice Hammel
• Marshall Haning
• Demaris Hansen
• Michele L. Henry
• John Holmes
• Daniel C. Johnson
• Joo Hyun Kang
• Gail Kuppan
• Andreas
Lehmann-Wermser •
Sharon Lierse •
Jason Longtin •
Jeffrey Marlatt •
Melissa C. McCabe •
Karabo Lucy Mogane
• Helena
Muciño-Guerra •
Dorothy J. Musselwhite
• Flávia
Motoyama Narita •
Emma Nenadic •
Glenn E. Nierman •
Helena de Souza Nunes
• Kelly A. Parkes
• Phillip D. Payne
• Laura Navarro
Ramón • Patricia
Riley • Shelley
Sanderson • Megan
M. Sheridan •
Stephanie L. Standerfer
• David A.
Stringham • Dennis
Ping-Cheng Wang •
Jeffrey Ward •
Brian C. Wesolowski
• Benjamin Weyel
The Sixth International
Symposium on Assessment
in Music Education was
hosted by the University
of Florida and Birmingham
City University. The
symposium brought
together 110 participants
from 23 nations and six
continents to learn of
each other’s work,
establish collaborations
and professional
networks, and shape new
directions for research
in this important area of
music education in
Birmingham, England, from
April 18-21, 2017.ÂÂ
The two keynote addresses
and 35 papers published
in this volume document
music assessment practice
and the measurement and
evaluation of music
learning across the world
in local, state, and
national contexts at all
levels. The attendees
also attended special
work sessions to discuss
the International
Principles for Assessment
in Music Education
(developed and introduced
by the co-chairs at this
symposium), and their
discussions are
summarized in this
collection. As music
educators across the
world come to terms with
increased expectations
for accountability of
learning in music, the
scholars and
practitioners who have
contributed to this
volume provide insight to
guide their work. Timothy
S. Brophy is Professor of
Music Education and
Director of Institutional
Assessment at the
University of Florida in
Gainesville, Florida.
Martin Fautley is
Professor of Education
and Director of Research
in Education at
Birmingham City
University in Birmingham,
England. $47.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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