Welcome to the Bizet Catalogue. This is primarily a list of Bizet's works, providing essential information about the history and content of each one. It gives information on manuscript and printed sources, on documentary materials relating to the composition, performance and publication of each work, and is intended to provide a full historical documentation of Bizet's work as composer and transcriber.
Tuesday, November 18, 2014
Thursday, November 13, 2014
The James R. and Susan Neumann Jazz Collection presents
|the neUmann DIGITization project|
Why in general did you want to take part in this project?
I wanted to digitize this record because there wouldn't have been any way for me to hear this music without digitizing the record myself; there is currently no place to buy this record or download any of the audio files. I very much appreciate that something like the Neumann Collection exists so it's possible for a student of jazz at Oberlin to have access to almost any obscure jazz record that is of interest to them.
Why did you choose this particular record?
I chose this record because the Oberlin Jazz Ensemble just received new music, and we're playing four of the five songs on the record. When I play/learn music of any kind that's not original, it's very helpful to have a recording to reference.
How was this experience different from simply locating an existing digital version of the LP on YouTube or Spotify?
Digitizing the record forced me to listen actively and have my focus for the time I was listening to music be solely on the music. As much as I try to do this when listening to music normally, it's somewhat regular that my mind might wander, I'll choose to change the track, or even stop listening completely.
What stood out to you musically as you listened to the recording?
The Mel Lewis Jazz Orchestra is one my favorite big bands of all time. I haven't heard a bad record of theirs, only ones I think are good and ones I think are great. This recording is special because it featured the music of Herbie Hancock arranged by Bob Mintzer. These are two of my favorite artists who have never been featured by The Mel Lewis Jazz Orchestra before. The result is fantastic, with the songs on this record being now some of my favorite tracks ever recorded by this band. On top of great songs and great arrangements with outstanding ensemble playing, the solos are out of this world with some of the hottest performers of The Mel Lewis Jazz Orchestra at their career's best. Make sure to watch out for Dick Oatts's solo on "Dolphin Dance," as well as Rich Perry on "Wiggle Waggle."
Can other students listen to the LP now that it's been digitized?
Yes, just click here and, when prompted, enter your ObieID and password. If you’re off campus, you’ll need to authenticate using Oberlin’s VPN.
Wednesday, November 5, 2014
Latin music : musicians, genres, and themes / Ilan Stavans, editor-in-chief ; Joshua Stavans, project manager. Santa Barbara, California : Greenwood, 
Con Reference ML101.L38 L37 2014 vol. 1 -2
Great resource for students and scholars of music, Latino culture, Hispanic civilization, popular culture, and Latin American countries. Comprising work from nearly 50 contributors from Spain, Latin America, the Caribbean, and the United States.
Monday, October 6, 2014
MUSAIC—a collaborative digital initiative between the New World Symphony, Cleveland Institute of Music, Curtis Institute of Music, Eastman School of Music (University of Rochester), Guildhall School of Music and Drama (London), Manhattan School of Music, Royal Danish Academy of Music, San Francisco Conservatory of Music, University of Missouri-Kansas City, and University of Southern California—is an online community of classical musicians and continuously updated video library curated by America’s Orchestral Academy. Just as teachers have traditionally passed down knowledge to their students, MUSAIC provides access to classical music instruction and conversations for students and performers alike. Watch videos here!
Friday, October 3, 2014
For Balazs Mikusi, a young Hungarian musicologist, it was the find of a lifetime. Leafing through folders of unidentified manuscripts at the National Szechenyi Library in Budapest recently, he came across four pages of what looked to him like Mozart’s handwriting. As he read through the music, he told Agence France-Presse, he realized that he had stumbled onto Mozart’s own score of the Piano Sonata in A, K.331 – one of the best-known Mozart sonatas because of its “Rondo alla Turca” finale.
To verify his impression Mr. Mikusi showed a copy of the score to Ulrich Leisinger, the director of the Mozarteum Foundation in Salzburg, and Neal Zaslaw, the editor of the new Köchel catalog of Mozart’s works. Both agreed that the writing was Mozart’s, Mr. Mikusi said in an interview published in the library’s blog. More