Program notes of graduate recital

Master's Project (M.Mu.) University of Alaska Fairbanks, 2017This paper discusses the four pieces of the graduate recital of student Evanthia Maniatopoulou; Johann Sebastian Bach's Prelude and Fugue in F minor, Well-Tempered Clavier Book II, BWV 881; Ludwig van Beethoven's Piano Sonata No. 30, Op. 109; Frederic Chopin's Scherzo No. 3, Op. 39; and Sergei Prokofiev's Piano Sonata No. 7, Op. 83. It is divided into four chapters, with one chapter dedicated to each piece. In each chapter there is a discussion about the composer's background, then some comments about his compositional style in general, then some information about the genre in which every piece falls into, and finally a brief analysis and discussion about the specific piece that was in the graduate recital.Chapter 1. Johann Sebastian Bach (1685-1750) -- Chapter 2. Ludwig van Beethoven (1770-1827) -- Chapter 3. Frederic Chopin (1810-1849) -- Chapter 4. Sergei Prokofiev (1891-1953) -- Bibliography

Program Notes

Lift Every Voice and Sing O Vos Omnes The Last Words of David No. 6 “Song of the Earth” from Jubilate Deo Requiem KV 626, “III. Sequenz, No. 3 Rex Tremendae” O Quam Gloriosum I Opened My Mouth To the Lord Total Praise Music Down in My Soul Festival Sanctus Sure on This Shining Night “Non Nobis” from Three Latin Psalm

Program Notes

Choral notes for: O Thou, the Central Orb “Te Cao Chang de Yang” (section 1) from Jubilate Deo “Kyrie” from Requiem “Sanctus” from Missa O Magnum Mysterium Festival Sanctus “The Road Not Taken” from Frostiana The Road Home Will There Really Be a Morning? Hark, I Hear the Harps Eternal Lo, How a Rose/The Rose A Red, Red, Rose “The Ballad of Sweeney Todd” from Sweeney Todd “Sunday” from Sunday in the Park with Georg

Scholarly Program Notes

This document is a compilation of biographical and musical information to aid in understanding the music and composers presented at the graduate recital of Mr. Keenan McCarter; including “Avant de quitter ces lieux” from Faust by Charles Gounod, “Questo amor vergogna mia” from Edgar by Giacomo Puccini, “Bess you is my woman now” and “Oh Bess” from Porgy and Bess by George Gershwin, and “Wheels of a dream” from Ragtime by Stephen Flaherty, Les cloches, Mandoline, and Romance by Claude Debussy, Und willst du deinen Liebsten, Fußreise, and Verborgenheit by Hugo Wolf, Calvary by Betty Jackson King, I want to be ready by Clarence Carter, and I want Jesus to walk with me by Lloyd Larson

Scholarly Program Notes

This document is a compilation of biographical and musical information that serves to inform the audience about the music presented at the graduate recital of Ms. Yun Xin Lee. The works discussed will include the Cantata BWV 82 by Johann Sebastian Bach, the six songs from Ariette oubliées by Claude Debussy; Kennst du das Land from Mignon by Ludwig van Beethoven, Franz Peter Schubert, Robert Alexander Schumann, Franz Liszt and Hugo Wolf; and La Bonne Cuisine by Leonard Bernstein

What is This Noise?: A Comparison of Narrative and Statistical Program Notes\u27 Ability to Affect Enjoyment

Program notes, brief written statements provided to attendees of classical music performances, have in some cases increased audiences’ enjoyment of what they hear, but results from such research are inconsistent. This study sought to explore the effects of program notes on enjoyment, eudaimonic appreciation, and intention to attend a concert, as well as whether narrative or statistical styles of notes would be more effective. Participants in an experiment were randomly assigned to one of three conditions--no program notes, narrative style program notes, and statistical program notes--then asked to listen to a piece of music. Those who received program notes reported liking the music more and finding it more meaningful than those who did not receive notes. Participants who received narrative program notes reported more enjoyment than those in the statistical condition, but the differences were not significant. Participants’ predisposition to like classical music affected evaluations of the music, including significantly interacting with condition on interest in hearing the piece again, finding the piece meaningful, and willingness to attend a concert if offered free tickets. Significant differences were found between the narrative and statistical groups for participants\u27 willingness to seek out information about a concert featuring the music used in the experiment. Implications for professional orchestras and further program notes research are discussed