Selected Bibliography for Low Brass

Total Page:16

File Type:pdf, Size:1020Kb

Selected Bibliography for Low Brass Selected Bibliography for Low Brass Adams, Peter H. Antique Brass Wind Instruments: Identification and Value Guide. Atglen, Pennsylvania: Schiffer Publishing, Ltd., 1998. Adams, Stan R. “A Survey of the Use of Trombones to Depict Infernal and Horrendous Scenes in Three Representative Operas.” International Trombone Association Journal 9 (1981), 16-20. Ahrens, Christian. Valved Brass: The History of an Invention. Translated by Steven Plank. Hillsdale, New York: Pendragon Press, 2008. Anderson, Paul G. Brass Solo and Study Material Music Guide. Evanston, Illinois: The Instrumentalist Company, 1976. Baines, Anthony. Brass Instruments: Their History and Development. New York: Dover Publications, Inc., 1993. Baker, Buddy. The Buddy Baker Tenor Trombone Handbook. Edited by Kevin Carroll. Austin, Texas: International Trombone Association Manuscript Press, 2001. Bate, Phillip. The Trumpet and Trombone: An Outline of Their History, Development, and Construction, 2nd ed. New York: W.W. Norton and Company, 1978. Begel, Richard. A Modern Guide for Trombonists and Other Musicians. Fort Wayne, Michigan: Richard Begel, 2002. Benjamin, Rick. “Arthur Pryor: Ragtime Pioneer.” The Mississippi Rag 21 (1993), 5-6. Berlioz, Hector and Richard Strauss. Treatise on Instrumentation. Translated by Theodore Front. New York: Edwin F. Kalmus, 1948. Reprint: New York: Dover Publications, 1991. Berman, Eric M. “Performance Tasks Encountered in Selected Twentieth-Century Band Excerpts for Tuba: Their Identification, Categorization, and Analysis.” Ph.D. diss., New York University, 1981. Bevan, Clifford. “Cimbasso Research and Performance Practice: An Update.” In Perspectives in Brass Scholarship. Stuyvesant, New York: Pendragon Press, 1997, 289-299. Bevan, Clifford. “Final Thoughts on the Cimbasso.” TUBA Journal 26:3 (1999), 56-57; 28:1 (2000), 107-109. Bevan, Clifford. “On the Cimbasso Trail.” Sounding Brass & The Conductor 8:2 (1979), 57-58. Bevan, Clifford. The Tuba Family. Second Edition. Winchester, U.K.: Piccolo Press, 2000. Bird, Gary. Program Notes for the Solo Tuba. Bloomington, IN: Indiana University Press, 1994. Blaikley, D.J. “The Development of Modern Wind Instruments.” Proccedings of the Musical Association 12 (1885-1886), 125-138. Blanchard, Eric. “Legato Trombone: A Survey of Pedagogical Resources.” DMA diss., University of Cincinnati, 2010. Bone, Lloyd E., Jr. and Eric Paull, eds. Guide to the Euphonium Repertoire: The Euphonium Source Book. Bloomington, Indiana: Indiana University Press, 2006. Bough, Thomas Wayne. “The Role of the Tuba in Early Jazz Music from 1917 to the Present: A Historical, Pedagogical, and Aural Perspective.” DMA diss., Arizona State University, 1998. Bowman, Brian L. “The Euphonium in the United States.” Marsyas 14 (1990), 51-53. Bowman, Brian L. Practical Hints on Playing the Baritone (Euphonium). Miami, Florida: Warner-Brothers Publications, Inc., 1983. Selected Bibliography for Low Brass (Everett), p.2 Brewer, Robert Gary. “A Guide to the Use of Etudes and Exercises in Teaching the Tuba.” DMA diss., University of Illinois, 1991. Bridges, Glenn. Pioneers in Brass. Detroit: Sherwood Publications, 1965. Call, Glenn. “Music for the Euphonium.” Euphonia 3:1 (1982), 3. Call, Robert Steven. “Tuba Studio Teaching: Three Case Studies of Highly Effective Teachers (R. Winston Morris, Harvey G. Phillips, Arnold Jacobs).” Ph.D. diss., University of Utah, 2000. Callison, Hugh A. “Nineteenth-Century Orchestral Trombone Playing in the United States.” DA diss., Ball State University, 1986. Carlson, Mark. “Six Sonatas for Violoncello by Bendetto Marcello, A Critical Edition with Performance Guide for Low Brass Instruments.” DMA diss., University of Wisconsin-Madison, 2008. Carse, Adam. “Brass Instruments in the Orchestra: An Historical Sketch.” Music and Letters 3:4 (1922), 378-382. Carse, Adam. The History of Orchestration. London: Kegan Paul, Trench, Trubner, and Company, Limited, 1925. Reprint: New York: Dover Publications, 1964. Carse, Adam. The Orchestra from Beethoven to Berlioz. Cambridge, U.K.: W. Heffer & Sons, Ltd., 1948. Carter, Stewart. “Trombone Obbligatos in Viennese Oratorios of the Baroque.” Historic Brass Society Journal 2 (1990), 52-77. Čížek, Bohuslav. “Josef Kail (1795-1871), Forgotten Brass Instrument Innovator.” Brass Bulletin 73 (1991), 64-75; 74 (1991), 24-29. Claxton, Andrew. “Tuba Technique.” MM thesis, University of Reading, 1986. Collins, William Tracy. “Berlioz and the Trombone.” DMA diss., University of Texas at Austin, 1985. Cox, Charles. “The Trombone in the Baroque Era.” BS thesis, West Virginia Institute of Technology, 1973. Daubeny, Ulric. Orchestral Wind Instruments, Ancient and Modern. Freeport, New York: Books for Libraries Press, 1920. Dennis, Willie. “The History of the Trombone.” The Metronome (March 1957), 34-35. Dick, David. “The Trombone Parts in Heinrich Schütz’s ‘Symphoniae Sacrae I’ (1629): Style and Influences.” DMA diss., University of Memphis, 2008. Dickman, Marcus. “Richmond Matteson: Euphonium Innovator, Teacher, and Performer.” DMA diss., University of North Texas, 1997. Dietrich, Kurt. Jazz Bones: The World of Jazz Trombone. Rottenburg, Germany: Advance Music, 2005. Dillon, Steve. “Arthur Pryor: Poet of the Trombone.” The Instrumentalist 40:4 (1985), 34-38. Dittmer, J.S. and Joel Elias. “Thoughts of Love – Reminiscences of Arthur Pryor.” International Trombone Association Journal 13:2 (1985), 20-23. Drew, John. “The Emancipation of the Trombone in Orchestra Literature.” International Trombone Association Journal 9 (1981), 2-3. Dunnick, D. Kim and Jane F. Dunnick. Teaching Brass to Beginners. Ithaca, New York: Lyceum Press, 2001. Eliason, Robert E. “Brass Instrument Key and Valve Mechanisms Made in America before 1875 with Special Reference to the D.S. Pillsbury Collection in Greenfield Village, Dearborn, Michigan.” DMA diss., University of Missouri at Kansas City, 1968. Eliason, Robert E. “Early American Valves for Brass Instruments.” Galpin Society Journal 23 (1970), 86-96. Eliason, Robert E. “The Trombone in Nineteenth-Century America.” International Trombone Association Journal 10:1 (1982), 6-10. Erdman, James. “Arthur Pryor . An Endangered American Legacy.” International Trombone Association Journal 27:4 (1999), 20. Selected Bibliography for Low Brass (Everett), p.3 Everett, Micah, et al. The Low Brass Player’s Guide to Doubling. Flagstaff, Arizona: Mountain Peak Music, 2014. Fadle, Heinz. Looking for the Natural Way: Thoughts on Trombone and Brass Playing. Detmold, Germany: Edition Piccolo, 1996. Farkas, Philip. The Art of Brass Playing. Rochester, New York: Wind Music, Inc., 1962. Farkas, Philip. The Art of French Horn Playing. Evanston, Illinois: Summy-Birchard, Inc., 1956. Fasman, Mark J. Brass Bibliography. Bloomington, Indiana: Indiana University Press, 1990. Fink, Reginald H. The Trombonist’s Handbook. Athens, Ohio: Accura Music, 1977. Fletcher, Seth. “The Effect of Focal Task-Specific Embouchure Dystonia Upon Brass Musicians: A Literature Review and Case Study.” DMA diss., University of North Carolina at Greensboro, 2008. Frederiksen, Brian. Arnold Jacobs: Song and Wind. Gurnee, Illinois: WindSong Press Limited, 1996. Frizane, Daniel Evans. “Arthur Pryor (1870-1842): American Trombonist, Bandmaster, Composer.” DMA diss., University of Kansas, 1984. Fulmer, Cassandra R. “The Role of the Bass Trombone in Haydn’s “Die Schöpfung,” Beethoven’s Ninth Symphony, and Brahms’s Fourth Symphony: A Tutorial Focusing on Historical Background and Preparation Suggestions.” DMA diss., Louisiana State University, 1998. Galpin, F.G. A Textbook of European Musical Instruments, Their Origin, History, and Character. New York: E.P. Dutton and Co., 1937. Gade, Per. “Anton Hansen (1877-1947): Father of Trombone Playing in Scandinavia.” Brass Bulletin 27 (1979), 27-40; 28 (1979), 13- 28, 29 (1980), 81-94. Garofalo, Robert Joseph and Mark Elrod. Pictorial History of Civil War Era Musical Instruments and Military Bands. Missoula, Montana: Pictorial Histories Publishing Co., Inc.,1985. Good, Richard DeForrest. “A Biography of Earle L. Louder: Euphonium Performer and Educator.” DMA diss., Arizona State University, 1996. Gray, Harold Ross, Jr. “Music for Solo Tuba with Orchestra: A Discussion of Important Works and Annotated Bibliography.” DMA diss., University of Illinois, 1994. Gregory, Robin. The Trombone: The Instrument and Its Music. New York: Praeger Publishers, 1973. Griffiths, John R. Low Brass Guide. Roswell, Georgia: E. Williams Publishing Company, 1991. Guion, David M. “Felippe Cioffi: A Trombonist in Antebellum America.” American Music 14:1 (1996), 1-41. Guion, David M. “Great, but Forgotten Trombonists: Some Biographical Sketches.” Brass Bulletin 97 (1997), 62-73. Guion, David M. A History of the Trombone. Lanham, Maryland: Scarecrow Press, 2010. Guion, David M. “A Short History of the Trombone.” Available Online: <http://www.trombone.org/articles/library/viewarticles.asp?ArtID=254> [30 December 2004]. Guion, David M. The Trombone: Its History and Music, 1697-1811. New York: Gordon and Breach, 1988. Halsell, George. “North Italian Sacred Ensemble Music of the First Third of the Seventeenth Century Calling for Participation by One or More Trombones: An Annotated Anthology with Historical Introduction and Commentary.” DMA diss., University of Texas at Austin, 1989. Hanlon, Kenneth. “The Eighteenth-Century Trombone: A Study of its Changing Role as a Solo and Ensemble Instrument.” DMA diss., Johns Hopkins University, Peabody Institute of Music, 1989. Selected Bibliography for Low
Recommended publications
  • Jazz Concert
    Band Series presents University Wind Ensemble & University Concert Band Wednesday, November 18, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents: Band Series University Wind Ensemble and University Concert Band Wednesday, November 18, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM University Concert Band Dr. Ron Gerhardstein, director Mr. Alan Young, student conductor English Folk Song Suite ............................................................................................ Ralph Vaughn Williams (1872-1958) I. March II. Intermezzo III. March With Each Sunset: Comes the Promise of a New Day ............................................................ Richard Saucedo (b. 1957) Alan Young, Student Conductor Themes from Green Bushes .................................................................. Percy Grainger (1882-1961) / Larry Daehn, arr. Urban Dances .................................................................................................................................... Erik Morales (b. 1976) Alan Young, Student Conductor Theme from Schindler’s List ...................................................................... John Williams
    [Show full text]
  • Joan TOWER Violin Concerto Stroke Chamber Dance
    AMERICAN CLASSICS Joan TOWER Violin Concerto Stroke Chamber Dance Cho-Liang Lin, Violin Nashville Symphony Giancarlo Guerrero Joan Tower (b. 1938) Violin Concerto memorializing Oliveira’s love for his sibling. The middle section, with its Ravel-like woodwind murmurings, opens Stroke • Violin Concerto • Chamber Dance The composer first met violinist Elmar Oliveira while she with the opening whole-step idea given particular Like all good composers, Joan Tower brings to her writing capabilities. Her first concerto, Music for Cello and was working as composer-in-residence for the St. Louis poignancy by octave displacement. It reaches great desk life and musical experiences that inform her music in Orchestra, was written for the group’s cellist, and she has Symphony. “The first time he heard my music, he really heights of emotional intensity before segueing effortlessly unique ways. These include her childhood in South since composed concerti for the other four instruments in liked it,” she says. Eventually he told her, “You know, I just into the “finale,” the beginning of which is marked by a America, her formal education and her work as a the ensemble. She has held orchestral residencies with love your music, and I would like you to write a piece for descending whole step from pizzicato strings. professional chamber-music player. A member of the the St. Louis Symphony Orchestra (1985-88), the me.” Tower set out to compose a work that would generation that broke the glass ceiling for female Orchestra of St. Luke’s (1997-2007) and the Pittsburgh highlight traits she greatly admired in Oliveira’s technique.
    [Show full text]
  • Made in America (2004) Dreamscape – Concerto for Oboe and Orchestra (2014)
    TSO 2019–20 SEASON MADE IN AMERICA (2004) DREAMSCAPE – CONCERTO JOAN TOWER (1938 - ) FOR OBOE AND ORCHESTRA (2014) rammy award-winning ALYSSA MORRIS (1984 - ) composer, pianist, and conductor, whom the New rofessor of oboe and music Yorker heralded as “one of theory at Kansas State University, Gthe most successful woman composers Alyssa Morris composed this of all time,” Joan Tower spent nine work on a commission by years of her childhood in Bolivia. Upon PWilliam and Lois Johnson. The four PROGRAM NOTES returning to the United States, she was movements represent four different struck by the freedoms, advantages, dreams: and privileges that we so often take for • Falling Asleep and Chase — This granted. America the Beautiful came to dream is a familiar one that is mind as she composed this work. Its self-explanatory. tune runs throughout this piece as it • What? — This strange dream is competes with Tower’s idea of what is By Pam Davis By Pam depicted with abnormalities mixed inside that tune. The familiar rhythm of into a “normal” waltz. long-short-short and the rising motive is • Innuendo — A love scene. varied with unfamiliar elements including • Nightmare and Awakening — an extended opposing downward Beginning with the “dreamer’s tension by nasal muted trumpets and motive” heard in the first movement, oboes. The rest of the work takes off on the dreamer struggles to awaken those fragments. The climactic agenda but falls deeper asleep as a night- of the piece grows while juxtaposed with extended soft segments. Accord- mare commences. The tension is ing to Tower, the unsettling tension that relieved when the orchestra stops is evident in Made in America uncon- and the oboe states a cadenza that sciously ended up representing the awakens the dreamer with a return struggle of keeping America beautiful.
    [Show full text]
  • Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
    Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
    [Show full text]
  • BRIDWELL-BRINER, KATHRYN EILEEN, DMA the Horn In
    BRIDWELL-BRINER, KATHRYN EILEEN, D.M.A. The Horn in America from Colonial Society to 1842: Performers, Instruments, and Repertoire. (2014) Directed by Dr. Randy Kohlenberg. 294 pp. The purpose of this study was to address an aspect of the history of the horn neglected in traditional horn scholarship—that of the horn in America from the development of colonial society (ca. 1700) to the early days of the antebellum era (ca. 1840). This choice of time period avoided the massive influx of foreign musicians and exponential growth of American musical activities after 1840, as well as that of the general population, as this information would become too unwieldy for anything but studies of individual cities, regions, or specific musical groups. This time frame also paralleled the popularity of the horn virtuoso in Europe given so much attention by horn scholars. Additionally, all information gathered through examination of sources has been compiled in tables and included in the appendices with the intention of providing a point of reference for others interested in the horn in early America. This survey includes a brief introduction, review of literature, the ways in which the horn was utilized in early America, the individuals and businesses that made or sold horns and horn-related accoutrements such as music, tutors, crooks, and mouthpieces as well as an examination of the body of repertoire gleaned from performances of hornists in early America. THE HORN IN AMERICA FROM COLONIAL SOCIETY TO 1842: PERFORMERS, INSTRUMENTS, AND REPERTOIRE by Kathryn
    [Show full text]
  • Joan Tower Celebration FRIDAY FEBRUARY 9, 2018 8:00 Joan Tower Celebration
    Joan Tower Celebration FRIDAY FEBRUARY 9, 2018 8:00 Joan Tower Celebration FRIDAY FEBRUARY 9, 2018 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk by Robert Kirzinger and Joan Tower at 7:00 TIANYI WANG Under the Dome (2017) JOAN TOWER Rising, for Flute and Orchestra (2009) Carol Wincenc, flute JOAN TOWER Chamber Dance (2006) INTERMISSION JOAN TOWER Red Maple (2013) Adrian Morejon, bassoon JOAN TOWER Concerto for Flute (1989) Carol Wincenc, flute JOAN TOWER Made in America (2004) GIL ROSE, conductor PROGRAM NOTES 5 By Robert Kirzinger This year’s New England Conservatory-focused concert by the Boston Modern Orchestra Project delves into the work of the remarkable American composer Joan Tower in celebra- tion of her 80th birthday year. This concert is the culmination of Tower’s residency at NEC, during with she has coached performances of her work and participated in seminars and talks about music and its role in society. Joining Tower on the program is the winner of this year’s BMOP/NEC Composition Competition, Tianyi Wang. TIANYI WANG (b.1992) Under the Dome Tianyi Wang is a composition student of John Mallia and Stratis CLIVE GRAINGER CLIVE Minakakis here at the New England Conservatory. Born in the large city of Changchun in northeast China, he was encouraged TONIGHT’S PERFORMERS by his parents—his father is a filmmaker and his mother a musi- cian, and both are educators—to study piano from an early age. FLUTE BASS TROMBONE Sonia Deng He began writing music early in his high school years, and like Rachel Braude Chris Beaudry Judith Lee many kids, was under the influence of film scores, such as those Jessica Lizak PERCUSSION Micah Ringham by Joe Hisaishi for Hayao Miyazaki’s animated masterpieces (e.g., Princess Mononoke Sasha Callahan OBOE Robert Schulz and Spirited Away).
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles an Analysis And
    UNIVERSITY OF CALIFORNIA Los Angeles An Analysis and Performance Guide of Sound the Tucket Sonance and the Note to Mount for Trombone and Tape by Barry Anderson A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Joseph Rodolfo Krueger Muñoz 2013 ABSTRACT OF THE DISSERTATION An Analysis and Performance Guide of Sound the Tucket Sonance and the Note to Mount for Trombone and Tape by Barry Anderson by Joseph Rodolfo Krueger Muñoz Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Frank Heuser Chair Music for trombone and electroacoustic sounds is very underutilized in the mainstream world today. There is a need for musicians to preserve and protect music composed using the technology of the past because tapes are disintegrating and notable compositions are being lost. The most frequently performed pieces in the genre of trombone and pre-recorded tape are not challenging enough to train the advanced skills necessary to perform other works. Skills required to play these pieces such as reading graphical scores, playing in extreme ranges of the instrument, performing difficult extended techniques, synchronizing with an abstract tape, and making ethereal sounds into something tangible and enjoyable for the audience, are only learnable by studying and performing advanced abstract compositions. Sound the Tucket Sonance and the Note to Mount by Barry Anderson is an exemplary model of a piece that enables the trombonists to explore advanced playing techniques and to learn how to work in the medium of pre-recorded tape and acoustic performance. Sound the Tucket is the ideal companion piece to Luciano Berio's Sequenza V and has the potential to be a more manageable introduction to the notational style.
    [Show full text]
  • Style and Performance Considerations in Three Works Involving Flute by Joan Tower
    Style and Performance Considerations in Three Works Involving Flute by Joan Tower: Snow Dreams , Valentine Trills , and A Little Gift by TAMMY EVANS YONCE (Under the Direction of Angela Jones-Reus and David Haas) ABSTRACT Joan Tower is a highly regarded contemporary composer who is known for her early serial style and subsequent organic style. Her compositional process is most frequently a collaborative one; a performer herself, she prefers to work with the musicians for whom she is writing. In addition to her Hexachords for solo flute (1972) and Flute Concerto (1989), which are her most commonly studied flute works, she has also written seventeen other chamber or solo works involving flute. This document contains a biography of the composer and an analysis of three chamber and solo works involving flute: Snow Dreams , Valentine Trills, and A Little Gift . A listing of Tower’s chamber and solo works involving flute and an interview with the composer are included as appendices. In addition to identifying formal aspects of the works, specific musical elements that are most salient to each work will be discussed. One of these elements in particular, density, will be analyzed in relation to how it creates or dispels intensity. Tower often employs the same compositional features in all three works to create this feeling of motion versus stasis, which is well illuminated through the analysis of the most salient musical elements. INDEX WORDS: Joan Tower, Snow Dreams , Valentine Trills , A Little Gift , A Gift, Flute, Chamber Music, Solo Music
    [Show full text]
  • Canadian Solo Trombone Recital Repertoire: an Annotated Bibliography
    Canadian solo trombone recital repertoire: An annotated bibliography by Dale Sorensen A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by Dale Sorensen, 2015 Canadian solo trombone recital repertoire: An annotated bibliography Dale Sorensen Doctor of Musical Arts Graduate Department of Music University of Toronto 2015 Abstract The first major Canadian compositions for solo trombone were written in the 1950s, a time when Canadian concert music composers began to flourish. Since then, more than 240 Canadian works for solo trombone (including alto, tenor and bass) have been composed. This annotated bibliography is a comprehensive examination of 135 of these works, delimited to include those composed in a 60-year period from 1952 to 2012, in two subsets of the repertoire typically performed in a standard recital: music for unaccompanied trombone, and music for trombone with piano accompaniment. The performance and/or study of Canadian music is a curricular requirement in many Canadian school music programs, and the performance of Canadian works is often mandatory for recitals and solo competitions. An annotated bibliography is an important resource that allows performers, teachers and students to identify and evaluate a body of musical works. The present document responds to the demand for such a resource by musicians searching specifically for Canadian solo trombone music, and significantly expands the scope of such previous research. The works chosen for inclusion in this study are presented in five sections based on instrumentation (divided by alto, tenor or bass trombone, and by unaccompanied solos or works ii with piano accompaniment – at the time of writing there were no unaccompanied alto trombone solos).
    [Show full text]
  • The Music of Joan Tower • 2008 Karel Husa Visiting Professor of Composition
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-5-2008 Concert: The uM sic of Joan Tower Karel Husa Ithaca College Symphony Orchestra Kulmusik Contemporary Chamber Ensemble Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Husa, Karel; Ithaca College Symphony Orchestra; and Kulmusik Contemporary Chamber Ensemble, "Concert: The usicM of Joan Tower" (2008). All Concert & Recital Programs. 4180. https://digitalcommons.ithaca.edu/music_programs/4180 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. The Music of Joan Tower • 2008 Karel Husa Visiting Professor of Composition Ford Auditorium Tuesday, February 5, 2008 8:15 p.m. PROGRAM Fanfare for the Uncommon Woman #1 \ Members of the Ithaca College Symphony Orchestra • Hom: Lori Roy, principal; Liz Teucke, assistant Rachel Haselbauer; Ella Nace; Andrea Silvestrini Trumpet: Omar Williams, principal; Ethan Urtz; Caro!Jumper; Trombone: Aiice Rogers, principal; Erin Lindon; Phil Truex, bass Tuba: Bryan Lewis Percussion: Andrew Sickmeier, timpani; Seth Nicoletti, principal; Lee Treat Jeffery Meyer*, conductor Ascent Jean Radice*, organ Big Sky Susan Waterbury*, violin 'Elizabeth Simkin*, cello Jennifer Hayghe*, piano Petroushskates • Members of Kulmusik Lisa Thornton, flute Adam Butalewicz, clarinet Susan Waterbury*, violin Sara Wolfe, cello Mary Holzhauer, piano DNA Colleen Clark, Nate Dominy, Chris Ganey, Peter Kielar, Kaye Sevier, percussion Aian Dust, conductor * Ithaca College faculty • Photographic, video, and sound recording and/ or transmitting devices are not permitted in the Whalen Center concert halls.
    [Show full text]
  • Thur Fri Sat Sun Tues
    Thur Fri Sat Sun Tues July 1 | 7:30 PM July 3 | 11:00 AM July 6 | 7:30 PM July 2 | 6:30 PM Family Concert: String Quintets: Beethoven 7 & The Story of Babar Mozart & Brahms Augustin Hadelich Erina Yashima, conductor Colorado Music Festival Peter Oundjian, conductor Really Inventive Stuff Orchestra Members Augustin Hadelich, violin L. Mozart, Toy Symphony; Mozart, Viola Quintet in Artist-in-Residence Poulenc, The Story of Babar, G Minor; Brahms, Viola Aaron Jay Kernis, the Little Elephant Quintet in G Major composer Kernis, Elegy (world premiere); Mendelssohn, Violin Concerto; Beethoven, Symphony No. 7 July 8 | 7:30 PM July 11 | 6:30 PM July 13 | 7:30 PM July 9 | 6:30 PM Haydn’s London Juilliard String Brahms 4 & Symphony Quartet Pianist Stewart David Danzmayr, conductor Ravel, String Quartet in Goodyear Angelo Xiang Yu, violin F Major; Dutilleux, “Ainsi la Nuit”; Dvořák, String David Danzmayr, conductor Coleridge-Taylor, Stewart Goodyear, piano Novelletten for String Quartet No. 12 Orchestra, Op.52 Montgomery, Strum; (Movements 3 and 4); Saint-Saëns, Piano Mozart, Violin Concerto Concerto No. 2; No. 3; Haydn, Symphony Brahms, Symphony No. 4 No. 104 “London” July 15 | 7:30 PM July 18 | 6:30 PM July 20 | 7:30 PM July 16 | 6:30 PM Conrad Tao St. Lawrence Olga Kern & Performs Mozart String Quartet: Prokofiev’s Ludovic Morlot, conductor Debussy, Haydn, Classical Symphony Conrad Tao, piano John Adams Mozart, Idomeneo Ludovic Morlot, conductor Haydn, Quartet Op. 20, No. Olga Kern, piano (Movements 1 and 2); © Brantley Gutierrez © Brantley Mozart, Piano 4 ; Adams, String Quartet Dvořák, Legends, Op.
    [Show full text]
  • Performance Program Notes and Translations (In Program Order)
    Performance Program Notes and Translations (in program order) Concert 1 Thursday, March 12, 1:30-2:30 (McCastlain Hall Fireplace Room) The Platypus Story by Stephanie Berg (1986) performed by The Platypus Players Beth Wheeler (Arkansas Symphony Orchestra), oboe; Rochelle G. Mann (Fort Lewis College), flute Tatiana R. Mann (Texas Tech University), piano Richard Wheeler (University of Arkansas Medical School), Narrator #1 Julian Mann (Elementary School), Narrator #2 The Platypus Story follows the tale of various forest creatures, each belonging to their own bird, fish or mammal group, who come across an animal that seems to defy categorization. The story is adapted from the traditional Aboriginal Australian tale, which is one of the original stories of the Dreamtime. “Dreamtime” is the Aboriginal Australian understanding of the world, its creation and the beginning of knowledge as described through a series of tales. Its wonderful message of strength of unity and beauty in diversity reflects the belief that all life as it is today is part of one vast, unchanging network of relationships that can be traced to the Creation and Great Spirit ancestors of the Dreamtime. The music chosen to accompany this tale utilizes an expanded yet familiar tonal language that is evocative, charming and quirky enough to match that strangest of animals, the platypus. Incantation and Dance by William Grant Still (1895-1978) performed by Toot Suite Tara Schwab (Arkansas State University), flute Kristin Leitterman (Arkansas State University), oboe Emily Trapp Jenkins (Arkansas State University), piano An Arkansas Son: William Grant Still (1895–1978) William Grant Still (1895-1978) was born in Mississippi and raised in Little Rock, Arkansas, where he developed his love for music and ability on numerous instruments before moving to Ohio to attend Wilberforce University and later Oberlin Conservatory.
    [Show full text]