2018-02-21 16:05:00
Format:
PDF
Author:Popular holandesa
Notice (8): Undefined index: visible_instrumentacio [APP/views/categories/display.ctp, line 394]
Code |
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Located in the very heart of the old town of Barcelona, DINSIC Publicacions Musicals, SL was found in 1988 by Francesca Galofré Mora as a response to her great pedagogical vocation and with the aim of disseminating knowledge and musical production.<br />
<br />
Today, with more than twenty years of constant work, the publishing company devotes itself to promoting the publication of several books and materials destined to musical education in all its fields: music schools and conservatories, school in all its levels and university.<br />
<br />
Its collection includes scores ranging from solo parts, literature for chamber ensembles and orchestras to the great symphonic repertoire, as well as works for choir in all its formations. Some of these collections include publications of critical studies in several languages.</div>
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<a href="/en/p/introduction">Introduction</a></li>
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<a href="/en/p/aims_of_the_enterprise">Aims of the enterprise</a></li>
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<a href="/en/p/the_autors">The autors</a></li>
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<a href="/en/p/catalogue_of_releases">Catalogue of releases</a></li>
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At DINSIC, we basically specialize in writing and publishing books and a wide range of materials for music education. We also edit vocal, instrumental and orchestral scores for choirs, chamber ensembles and orchestras.<br />
<br />
We have a special interest in publishing music works with comments in several languages: Catalan, Spanish, Bask, French Occitan, Portuguese, English, German etc., and books about music and its world.<br />
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We have a department for traditional and popular Catalan and Occitan music, which is soon going to be expanded with music from other regions.<br />
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At our publishing company, we work intensively to make the most of the possibilities of the technological applications that new information and communication technologies offer within our field.<br />
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Our website exhibits our catalogue of releases, which are available in all sorts of mediums (paper, CD etc.), or on-line.<br />
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We have adjoined a virtual store and environment for registered users, who can benefit from additional information and support services.</div>
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DINSIC Publicacions Musicals is delighted to announce it already accepts PayPal as an on-line payment method, alongside Visa, Mastercard and other credit cards or other traditional payment methods as COD or shipping service.<br />
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For those who don’t know PayPal, this system is one of the most efficient ways to make and receive international and – of course - national payments.<br />
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Down to his retirement in 1987, he taught harmony, counterpoint and form at the Barcelona Music School, he also having given classes at the Spanish-Moroccan Music School in Tetuan and in the Institut de Rítmica Joan Llongueres.<br />
He directed a number of artistic and traditional groups, and is much sought after for giving courses and master classes on various aspects of the practice and the teaching of music.<br />
His output as a composer is extensive and varied, including nearly every genre: lieder, chamber music, choral works with instrumental accompaniment or a cappella, symphonic works and numerous arrangements of traditional music for various ensembles.<br />
He won the composition award in the Autonomous Government of Catalonia's National Music Prize, and the music award in the National Prize for Folk and Traditional Culture.<br />
The Author<br />
Manuel Oltra i Ferrer was born in Valencia in 1922, though his family moved to Barcelona that same year. He taught harmony, counterpoint and musical form at the Barcelona music school from 1959 to 1987, he also having held the post of vice-director there (1973-1981). Manuel Oltra's teaching work there has left a deep impression on a whole generation of musicians, among whom are some of the most representative figures of the present-day musical world.<br />
Alongside that academic work, his professional work was strongly bound up with the worlds of choral singing and the traditional song-and-dance esbarts, his extensive knowledge of music in general having taken him into practically every musical genre: chamber music, orchestral music, 'a capella' choral works, choral-symphonic music etc. It is thus from this wide-ranging musical perspective that he came to the music of our land in its most characteristic soundscape ' the cobla band ' and in its most genuine expression ' the sardana.<br />
Manuel Oltra is regarded as having carried on the work of the classic figures of cobla music: the likes of Eduard Toldrà, Ricard Lamote de Grignon and in particular Joanquim Serra, with whom he shared interesting musical experiences in his youth, became beacon figures, revered as masters. His musical output in general is characterised by balanced proportions in every sense, whether in the creation of unusual structures or in developing pre-established forms. The balance between unity and variety and between moments of tension and of relaxation, and the quest for reaching the climax at the most appropriate time (the golden section or proportion) are some of the elements frequently cited by Manuel Oltra in talking about music in general and his own in particular, in which the treatment of the instruments tends to have a certain chamber-music quality: according to him, economy of means in instrumental writing offers him greater possibilities as regards combining different timbres. His harmonies often have a certain post-impressionist flavour: the tonal explorations along with the modal nature thriving in many of his ideas or musical phrases sometimes lead to curious harmonic symbioses.<br />
Manuel Oltra's output for cobla band comprises, in addition his harmonisations of a hundred-odd traditional Catalan ballets, a dozen long concert works, varying in form, length and orchestration, and a catalogue of sardanas that now stands at 36 works. His constant probing has led to bold and apposite experiments in timbre ' he was the first composer to combine the cobla band with instruments not associated with the traditional ensemble ' and to successful rhythmic speculations.<br />
Jordi León</div>
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Down to his retirement in 1987, he taught harmony, counterpoint and form at the Barcelona Music School, he also having given classes at the Spanish-Moroccan Music School in Tetuan and in the Institut de Rítmica Joan Llongueres.<br />
He directed a number of artistic and traditional groups, and is much sought after for giving courses and master classes on various aspects of the practice and the teaching of music.<br />
His output as a composer is extensive and varied, including nearly every genre: lieder, chamber music, choral works with instrumental accompaniment or a cappella, symphonic works and numerous arrangements of traditional music for various ensembles.<br />
He won the composition award in the Autonomous Government of Catalonia's National Music Prize, and the music award in the National Prize for Folk and Traditional Culture.<br />
The Author<br />
Manuel Oltra i Ferrer was born in Valencia in 1922, though his family moved to Barcelona that same year. He taught harmony, counterpoint and musical form at the Barcelona music school from 1959 to 1987, he also having held the post of vice-director there (1973-1981). Manuel Oltra's teaching work there has left a deep impression on a whole generation of musicians, among whom are some of the most representative figures of the present-day musical world.<br />
Alongside that academic work, his professional work was strongly bound up with the worlds of choral singing and the traditional song-and-dance esbarts, his extensive knowledge of music in general having taken him into practically every musical genre: chamber music, orchestral music, 'a capella' choral works, choral-symphonic music etc. It is thus from this wide-ranging musical perspective that he came to the music of our land in its most characteristic soundscape ' the cobla band ' and in its most genuine expression ' the sardana.<br />
Manuel Oltra is regarded as having carried on the work of the classic figures of cobla music: the likes of Eduard Toldrà, Ricard Lamote de Grignon and in particular Joanquim Serra, with whom he shared interesting musical experiences in his youth, became beacon figures, revered as masters. His musical output in general is characterised by balanced proportions in every sense, whether in the creation of unusual structures or in developing pre-established forms. The balance between unity and variety and between moments of tension and of relaxation, and the quest for reaching the climax at the most appropriate time (the golden section or proportion) are some of the elements frequently cited by Manuel Oltra in talking about music in general and his own in particular, in which the treatment of the instruments tends to have a certain chamber-music quality: according to him, economy of means in instrumental writing offers him greater possibilities as regards combining different timbres. His harmonies often have a certain post-impressionist flavour: the tonal explorations along with the modal nature thriving in many of his ideas or musical phrases sometimes lead to curious harmonic symbioses.<br />
Manuel Oltra's output for cobla band comprises, in addition his harmonisations of a hundred-odd traditional Catalan ballets, a dozen long concert works, varying in form, length and orchestration, and a catalogue of sardanas that now stands at 36 works. His constant probing has led to bold and apposite experiments in timbre ' he was the first composer to combine the cobla band with instruments not associated with the traditional ensemble ' and to successful rhythmic speculations.<br />
Jordi León</div>
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Collection:L'Esquitx (separate PDF pieces) Nr. 1
