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J O D I E B L AC KS H AW ’ S

T E RP S IC H OR EA N DAN CES

by DR. KEITH KINDER

erpsichorean

Dances

by

(“The Lute Player”) and Der Schutzenkönig (“The

Australian composer, Jodie

Archer King”). All three are developed to con-

Blackshaw, was a winning

siderable length and are preceded by a fanfare

entry in the inaugural Frank

based on motives extracted from the tunes or

Ticheli Composition Contest spon-

from the counterpoint that surrounds

sored by Manhattan Beach Music. As

them.

is apparent from the title, this work

Blackshaw’s setting presents sev-

draws on the extensive collection of

eral

instrumental dance tunes published by

Throughout the score, directions

Michael Praetorius in 1612 known as

such as “defiantly”, “clingingly”,

Terpsichore. Three tunes are specifi-

“reedy” and “to the fore” recall simi-

cally named in the score: Springtanz

lar instructions in the band music of

(“Leaping Dance”), Der Lautenspieler

Percy Grainger, and Blackshaw also

M a 20 TIMES MBM

n h a t t a n

B e a c h

“Australian”

characteristics.

M u s i c

Profile for Manhattan Beach Music

MBM Times Issue #5  

MBM Times Issue #5 - A Manhattan Beach Media Publication - articles about concert band music

MBM Times Issue #5  

MBM Times Issue #5 - A Manhattan Beach Media Publication - articles about concert band music