DOCSLIB.ORG

FESTIVAL of AMERICAN CONTEMPORARY MUSIC at Rice University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FESTIVAL of AMERICAN CONTEMPORARY MUSIC at Rice University FESTIVAL OF AMERICAN CONTEMPORARY MUSIC at Rice University November 2-7, 1986 FESTNALOF 2 A Message from Michael Hammond AMERICAN Dean, Shepherd School of Music CONTEMPORARY 3 A Message from Nancy Clarke MUSIC Executive Director, AT American Music Center RICE UNNERSilY 4 Schedule of Concerts and Events November 2-7, 1986 tO Biographies of Composers and Performers 18 Performing Organizations 25 A Partial List of Twentieth Century American Compositions Performed from 1975-1986 by the Shepherd School of Music 28 Acknowledgements A Message from Michael Hammond Dean, Shepherd School of Music This week's activities at the Shepherd School constitute one of the most ambitious festivals of new American music in the nation. We are proud to offer these seven programs in observance of American Music Week, and we are grateful to the many colleagues and collaborators who have worked with us over the past year in bringing all these concerts into being. A mutual devotion to fine music by living composers has inspired these efforts. Indeed, a number of the composers heard in this Festival are living among us here in Houston or elsewhere in Texas. We celebrate this fact and look to our own with special pride during this week. The myriad ways in which the music of these composers is woven into the rich fabric of Twentieth Century American writing will be apparent to our audiences. So will the endless links and family resemblances between these pieces and the unbroken tradition of European (and now Asian) music as well. We extend our gratitude too to the performers from beyond the Shepherd School who have joined us in these events. Most of them have had long and distinguished associations with various composers and works of our own time. Music continues to live because it continues to claim the full attention of living compositional imaginations and living artists who will labor to under­ stand and project the offerings of those imaginations. But equally, the tradi­ tion lives because there are listeners who wish to hear what is being said in their own time. May this Festival of American Contemporary Music at Rice University be an adventure for us all. Welcome. 2 A Message from Nancy Clarke Executive Director American Music Center On behalf of the American Music Center, I congratulate the organizers of the Festival of American Contemporary Music at Rice University. We are particularly pleased that the Festival is taking place in conjunction with American Music Week 1986. During American Music Week, all of America celebrates our living compos­ ers and performers of our country's contemporary music. American Music Week represents a continuing effort by the American Music Center and others throughout the nation to focus attention on the work of America's composers, to celebrate the quality and diversity of our music, and to stimu­ late performances of contemporary music. Through the work of all of us involved in American music, the music of America's composers will be heard. To be successful, American Music Week must involve the talents and exper­ tise of activists working locally and statewide. The fine work of Mary Duren and Robert Rodriguez of the Texas Composers Forum and Tom Littman of Rice University have made the success of American Music Week assured in Texas this year. 3 Schedule of Concerts and Events SUNDAY, NOVEMBER 2 4:00 p.m., Hamman Hall CAMBIATA .SOLOISTS PAUL COOPER Winter Poems Text by C.E. Cooper I. Dull sky drop your blinding soothing blanket II . Old tree men .. Ill. Naked before my mirror in the morning IV. Even the broken fences are beautiful V. The wonder of this icy splendor world SUMIYO ENDER, soprano AMY WINN, flute MARTHA BURWELL, harp ANITA LEMON, dancer/choreographer MARVIN FEINSMITH No'ach (text from Genesis) I. Chapter VI, Verses 5-9, 14-15, 17 II. Chapter VII , Verses 11-12,18, 21-23, Chapter VIII, Verses 1-4 Ill. Chapter VIII , Verses 6-12 IV. Chapter VIII , Verses 15-17, 21-22, Chapter IX, Verses 1, 9-11, 13, 16 ISABELLE GANZ, mezzo-soprano AMY WINN, piccolo and alto flute MARTHA BURWELL, harp RICHARD BROWN, percussion DAVIDCOLSON, percussion DEAN DALTON, narrator ARTHUR GOTTSCHALK, technical advisor INTERMISSION ARTHUR GOTTSCHALK Ragtime (World Premiere) * Text by Anal's Nin ISABELLE GANZ, mezzo-soprano DAVID TEASDALE, clarinet STEVE ESTES, cello CHRISTINE SCHAFFER, piano ARTHUR GOTTSCHALK, technical advisor RUSSELL PECK Liftoff RICHARD BROWN, percussion DAVID COLSON, percussion RIELY FRANCIS, percussion *Commissioned by CAMBIATA SOLOISTS. This concert is funded in part by a grant from the City of Hou·ston through the Cultural Arts Council of Houston. 4 SUNDAY, NOVEMBER 2 8:00 p.m., 60th Floor, TEXAS COMPOSERS FORUM Transco Tower 2800 Post Oak Blvd. Benefit concert for "Meet the Composer" Grant Program KARL KORTE The Birds of Aeroratoa I. Song - The Kokako II. ·Dance- The Bellbird CHARLES SEPOS Breathless LAURA HUNTER, soprano saxophone RICHARD LAVENDA The Weary Man Whispers DAVID PELTON, tenor PIERROT PLUS ensemble DAVID COLSON, conductor INTERMISSION CINDY McTEE Chord (Solo flute music in five movements) MARILYN MEAD, flute MARK WARHOL What's With Sam? (Shirley's Aria from the opera Sam) LYNN GRIEBLING, soprano HENRI-PAUL SICSIC, piano MARK CLINTON, piano ROBERT XAVIER RODRIGUEZ Tango di Tango ROBERT XAVIER RODRIGUEZ, piano MARY DUREN, accordian BRIAN DEAN, violin 5 55~ '3£_/(_3 S50 MONDAY, NOVEMBER 3 SHEPHERD SCHOOL 8:00 p.m., Hamman Hall SYMPHONY ORCHESTRA HAROLD FARBERMAN, guest conductor PAUL COOPER Symphony in Two Movements I. Largo II. Molto allegro INTERMISSION GUSTAV MAHLER Symphony No. 1 I. Langsam Schleppend II. Kraftig Bewegt Ill. Feierlich und gemessen, ohne zu schleppen IV. StOrmisch bewegt 6 TUESDAY, NOVEMBER 4 SYZYGY: 8:00 p.m., Hamman Hall New Music at Rice ARTHUR GOTTSCHALK Heavy Metal SHEPHERD SCHOOL HONORS BRASS QUINTET DAVID COLSON Intaglios I. (to William Hibbard) II. (to Charles Owen) Ill. (to Thomas L. Davis) IV. (to George Burt) DAVID COLSON, vibraharp HAROLD FARBERMAN Shapings 1: J = 60 II. J = 104 Ill. J = 76 IV. J = 96 PIERROT PLUS ensemble HAROLD FARBERMAN, guest conductor ROBERT OLSON, English horn INTERMISSION GEORGE BURT Exit Music Ill PIERROT PLUS ensemble DAVID COLSON, conductor ELLSWORTH MILBURN Spiritus Mundi Text by C.E. Cooper I. Pluto II. Venus Ill. Mars LYNN GRIEBLING, soprano PIERROT PLUS ensemble DAVID COLSON, conductor 7 WEDNESDAY, NOVEMBER 5 ROBERT WARD, piano 4:00p.m. Lecture Recital Shepherd School Rehearsal Hall "East Meets West: The Gamelan Music of John Cage" Origins of an Idea Philosophy and Aesthetic The Gamelan Orchestra The Prepared Piano Performance JOHN CAGE Sonatas and Interludes· (1946-1948) ) s N\ THURSDAY, NOVEMBER 6 a6 ~ !1.~ 8:00 p.m., Hamman Hall /() } r RICE JAZZ ENSEMBLE lJ\ t KEN DYE, director LARRY SLEZAK, saxophone THEA MARTIN, vocalist MALCOLM HARRIS, trumpet JOHN LA BARBARA Doodlin' MATT HARRIS Mira Mira BILL HOLMAN Flirt SAMMY NESTICO 88-Basie Street LES HOOPER Killer Joe Arranged by MALCOLM HARRIS Don't Rain on My Parade TOM DOSSETT Never Ending Blues 8 FRIDAY, NOVEMBER 7 8:00 p.m., Hamman Hall LAURA HUNTER, saxophone M. WILLIAM KARLINS Impromptu (World Premiere)* Giocoso con abbandono Luttuoso Con energia PETER MALEITZKE, piano RODNEY ROGERS The Nature of This Whirling Wheel*t PETER MALEITZKE, piano PAUL COOPER Variants IV (World Premiere)* Tema: Molto adagio Tempestoso Tranquillo Semplice Dramatico Tranquillo diventando tempestos Tema: Molto adagio BRIAN CONNELLY, piano INTERMISSION HENRY BRANT Concerto for Alto Saxophone and Nine Instruments I. Con brio II. Sostenuto Ill. Ritmico, ironico PIERROT PLUS ensemble HENRY BRANT, guest conductor *Commissioned by the National Endowment for the Arts Consortium Commissioning Program. tSimultaneous World Premiere witr1 Lawrence University New Music Ensemble, Appleton, Wisconsin. Photographing and sound recording are prohibited. We further request that audible paging devices not be used during the performance. Paging arrangements may be made with the ushers. 9 •HENRY BRANT. one of the pioneer com­ American Academy and Institute of Arts posers of 20th century "spatial music", was and Letters in 1968, and to the American born in Montreal in 1913. In 1929 he moved Academy of Arts and Sciences in 1978. He to New York and for the next 20 years he has been a Fellow of the Centers for Ad­ composed and conducted music for radio, vanced Studies at Wesleyan University and films, ballet and jazz groups, also compos­ at the University of Illinois, and Composer­ ing experimentally for the concert hall. In in-Residence at the University of Cincinnati 1950 he began to write spatial music of a and the University of California at Davis. He particular kind, in which the positioning of was Regent's Lecturer at the University of the performers throughout the hall, as well California at San Diego (1980). Recent com­ as on stage, is an essential element in the missions include Thirty Pieces for Five Orches­ composing plan. This procedure, which tras (1981) for the Orchestra de Lorraine and limits and defines the highly contrasted the Centre Europeen pour Ia Recherche music assigned to each performing group, Musicale, and Dance/4 Orchestras (1981) for derives from concepts of Charles lves. the.19_82 Cabrillo Festival, Aptos, California. Brant's principal works since 1950 are all Cage is the author of Silence (1961 ). AYear spatial; these comprise over 50 composi­ from Monday (1968), M (1973) , Empty Words tions, each for a different combination of (197-9), all published by the Weslayan Uni­ instruments/ voices, and each requiring a versity Press; Notations (with Alison Knowles, different spatial arrangement of the per­ 1969) published by Something Else Press; formers in the auditorium. Brant's music Writings through Finnegans Wake, published has been widely performed and recorded in 6.GEORGE BURT. who was born in 1929 in by Printed Editions (1979) ; For the Birds this country and abroad, and his long San Francisco, received degrees in compo­ (Conversations with Daniel Charles) (1981) career has been recognized by numerous sition from the University of California in published by Marian Soyars; Another Song awards and honors, including two Guggen­ Berkeley, Mills College and Princeton.
Load more

Recommended publications
  • Educational Materials to Go with the Video & Extra Materials For
    Educational Materials to go with the Video & extra materials for preparation and extension of the concert Prepared by Valerie Trollinger ([email protected], or [email protected] ) October 2012 Discovery Concert Series The Science of Sound Reading Symphony Orchestra Discovery Concert Series October, 2012 The Thrill of Resonance (Grades 4 , and above; Grade 3 with help) Teacher Quick-Start Guide The video is the second one in our sequence about the Science of Sound. There are three (3) ways to use this series at this point: 1) For students to get the full benefit of the science behind the sounds, then viewing the first video “The Science of Sound” is strongly recommended. a. Show the first video in the sequence (The Science of Sound) with the accompanying worksheet, go over the worksheet as needed. When the students are familiar with the meaning of the words Frequency, Amplitude, Time, Dynamics, and the rest of the terms on the worksheet, then go on to the second video (The Thrill of Resonance) with that accompanying worksheet. From there you can continue with activities that are relevant to your curriculum. There are a lot of other activities that go with both of these videos, addressing STEM technology ( adding the arts ) and building on creative thinking, problem solving, critical thinking, reading, writing, and even engineering. 2) If you don’t have time for the first video at this point and want to only show the second-- a) The students still need to be familiar with the terms Frequency, Amplitude, and Time. Definitions will follow in the teacher pack.
    [Show full text]
  • Prospective Encounters
    FOUR INNOVATIVE EVENTS IN GREENWICH VILLAGE presented by the NEW YORK PHILHARMONIC PIERRE BOULEZ, Music Director EISNER AND LUBIN AUDITORIUM, LOEB STUDENT CENTER, NEW YORK UNIVERSITY Friday Evening, February 18, 1972, at 7:30 p.m. PROSPECTIVE ENCOUNTER IV PIERRE BOULEZ, Conductor STANLEY SILVERMAN PLANH Stanley Silverman, Guitar Violin Flute, Alto Flute Percussion Kenneth Gordon Paige Brook Richard Fitz Viola Clarinet, Gordon Gottlieb Sol Greitzer Bass Clarinet Mandolin Cello Stephen Freeman Jacob Glick Bernardo Altmann GEORGE CRUMB "Ancient Voices of Children" A Cycle of Songs on Texts by Garcia Lorca I "El niho busca su voz" ("The Little Boy Was Looking for his Voice") "Dances of the Ancient Earth" II "Me he perdido muchas veces por el mar" ("I Have Lost Myself in the Sea Many Times") III "6De d6nde vienes, amor, mi nino?" ("From Where Do You Come, My Love, My Child?") ("Dance of the Sacred Life-Cycle") IV "Todas ]as tardes en Granada, todas las tardes se muere un nino" ("Each After- noon in Granada, a Child Dies Each Afternoon") "Ghost Dance" V "Se ha Ilenado de luces mi coraz6n de seda" ("My Heart of Silk Is Filled with Lights") Jan DeGaetani, Mezzo-soprano Joseph Lampke, Boy soprano Oboe Harp Percussion Harold Gomberg Myor Rosen Raymond DesRoches Mandolin Piano Richard Fitz Jacob Glick PaulJacobs Gordon Gottlieb Orchestra Personnel Manager, James Chambers ERIC SALZMAN with QUOG ECOLOG QUOG Josh Bauman Imogen Howe Jon Miller Tina Chancey Garrett List Barbara Oka Tony Elitcher Jim Mandel Walter Wantman Laura Greenberg Bill Matthews
    [Show full text]
  • Sfkieherd Sc~Ol Ofmusic
    GUEST ARTIST RECITAL JEFFREY JACOB, Piano Thursday, September 18, 2008 8:00 p.m. Lillian H. Duncan Recital Hall sfkieherd RICE UNIVERSITY Sc~ol ofMusic PROGRAM Makrokosmos II George Crumb Twelve Fantasy-Pieces after the Zodiac (b.1929) (for amplified piano) 1. Morning Music (Genesis II) 2. The Mystic Chord 3. Rain-Death Variations 4. Twin Suns (Doppelganger aus der Ewigkeit) 5. Ghost-Nocturne: For the Druids of Stonehenge 6. Gargoyles 7. Tora I Tora I Tora I ( Cadenza Apocalittica) 8. A Prophecy of Nostradamus 9. Cosmic Wind 10. Voices from "Corona Borealis" 11. Litany of the Galactic Bells 12. Agnus Dei The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use ofrecording equipment are prohibited. BIOGRAPHY Described by the Warsaw Music Journal as "unquestionably one of the greatest performers of 20th-century music," and the New York Times as "an artist ofintense concentration and conviction," Jeffrey Jacob re­ ceived his education from the Juilliard School (Master of Music) and the Peabody Conservatory (Doctor ofMusical Arts) and counts as his prin­ cipal teachers Mieczyslaw Munz, Carlo Zecchi, and Leon Fleisher. Since his debut with the London Philharmonic in Royal Festival Hall, he has appeared as piano soloist with over twenty orchestras internationally including the Moscow, St. Petersburg, Seattle, Portland, Indianapolis, Charleston, Silo Paulo and Brazilian National Symphonies, and the Si­ lesian, Moravian , North Czech, and Royal Queenstown Philharmonics. A noted proponent ofcontemporary music, he has performed the world premieres of works written for him by George Crumb, Gunther Schuller, Vincent Persichetti, Samuel Adler, Francis Routh, and many others.
    [Show full text]
  • Paper 59 2019.Pdf
    1 Accademia Musicale Studio Musica International Conference on New Music Concepts and Inspired Education Proceeding Book Vol. 6 Accademia Musicale Studio Musica Michele Della Ventura Editor COPYRIGHT MATERIAL 2 Printed in Italy First edition: April 2019 ©2019 Accademia Musicale Studio Musica www.studiomusicatreviso.it Accademia Musicale Studio Musica – Treviso (Italy) ISBN: 978-88-944350-0-9 3 Preface This volume of proceedings from the conference provides an opportunity for readers to engage with a selection of refereed papers that were presented during the International Conference on New Music Concepts and Inspired Education. The reader will sample here reports of research on topics ranging from mathematical models in music to pattern recognition in music; symbolic music processing; music synthesis and transformation; learning and conceptual change; teaching strategies; e-learning and innovative learning. This book is meant to be a textbook that is suitable for courses at the advanced under- graduate and beginning master level. By mixing theory and practice, the book provides both profound technological knowledge as well as a comprehensive treatment of music processing applications. The goals of the Conference are to foster international research collaborations in the fields of Music Studies and Education as well as to provide a forum to present current research results in the forms of technical sessions, round table discussions during the conference period in a relax and enjoyable atmosphere. 36 papers from 16 countries were received. All the submissions were reviewed on the basis of their significance, novelty, technical quality, and practical impact. After careful reviews by at least three experts in the relevant areas for each paper, 12 papers from 10 countries were accepted for presentation or poster display at the conference.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music.
    [Show full text]
  • Crumb, George | Grove Music
    Grove Music Online Crumb, George (Henry ) Richard Steinitz https://doi.org/10.1093/gmo/9781561592630.article.A2249252 Published in print: 26 November 2013 Published online: 16 October 2013 (b Charleston, WV, Oct 24, 1929). American composer. Born to accomplished musical parents, he participated in domestic music- making from an early age, an experience that instilled a lifelong empathy with the Classical and Romantic repertory, as his Three Early Songs (1947) exemplify. He studied at Mason College (1947– 50), the University of Illinois, Urbana-Champaign (MM 1953), the Berlin Hochschule für Musik (Fulbright Fellow, 1955–6), where he was a student of Boris Blacher, and the University of Michigan, Ann Arbor (DMA 1959), where his teachers included Ross Lee Finney. At Ann Arbor, Crumb encountered the poetry of Federico García Lorca and listened with fellow students to Folkways recordings of world music. Debussy and Mahler were early influences, as well as Ives and the hymnody and revival songs in which Crumb was also immersed. But it was European music from Stravinsky and Ravel to the Second Viennese School and Dallapiccola that is reflected in his first significant composition, Variazioni (1959) for large orchestra, in a synthesis never doctrinaire, but sophisticated and transparent, displaying already an acute sensitivity to color. In the year of its completion, Crumb accepted a post at the University of Colorado, Boulder (1959–64) where, although employed as a piano teacher, his first mature works were composed. These include Five Pieces for Piano (1962), Night Music I (1963), which began as an instrumental composition but “came into focus” when he decided to set two poems by Lorca, and Four Nocturnes (1964).
    [Show full text]
  • Dalton Document Final Draft 4/25
    ! ! WIND MUSIC FOR THEATER: CAVE, COMPOSED BY RUSSELL PECK ! ! by! ADAM FITZGERALD! DALTON KENNETH B. OZZELLO,! COMMITTEE CHAIR STACY L. ALLEY RANDALL O. COLEMAN LINDA PAGE CUMMINS SHELLY D. MYERS THOMAS ROBINSON! ! A MANUSCRIPT! ! Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University! of Alabama ! ! TUSCALOOSA,! ALABAMA ! 2014! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright Adam Dalton 2014 ALL RIGHTS RESERVED ABSTRACT! This DMA manuscript is composed of two parts. The first is an essay focusing on Russell Peck (1949-2005) and his piece Cave. The written essay begins with a discussion of wind music for theater and the different techniques that composers use in this genre. It also looks more in-depth at a small sample of these pieces and the purpose, place, and intention of these works. The majority of this essay, however, focuses on Russell Peck and his piece Cave. The essay looks at technical, musical, and performance considerations of the piece and how they enhance the performance. Recommendations for future performances are discussed. Interviews with friends and family members of Russell Peck provides greater insight into him as a person as well as his compositional style and thought process when composing this piece. The second part of this DMA manuscript is a professional quality DVD of a full performance of Cave with the University of Alabama Symphonic Band on their April 14, 2014, concert. ! ! !ii ! ACKNOWLEDGMENTS There are many people I would like to thank who helped me along this journey. I would like to start with my committee.
    [Show full text]
  • Beneath a Canvas of Green a Conductor's Analysis and Comprehensive Survey of Related Works for Percussion Ensemble and Winds B
    i BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS BY TONYA PATRICE MITCHELL Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ____________________________________ Chairperson Paul W. Popiel ____________________________________ Matthew O. Smith ____________________________________ Sharon Toulouse ____________________________________ Forest Pierce ____________________________________ Martin Bergee Date Defended: April 18, 2018 ii The Lecture Recital Committee for TONYA P. MITCHELL certifies that this is the approved version of the following document: BENEATH A CANVAS OF GREEN A CONDUCTOR’S ANALYSIS AND COMPREHENSIVE SURVEY OF RELATED WORKS FOR PERCUSSION ENSEMBLE AND WINDS ____________________________________ Chairperson Paul W. Popiel Date Approved: April 18, 2018 iii ABSTRACT This document functions as an examination of Aaron Perrine’s (1979) Beneath a Canvas of Green (2018), a work for percussion ensemble and wind band. Included in this paper are sections outlining the composer’s background, the conception and commissioning process of the piece, a conductor’s analysis, rehearsal considerations, final thoughts regarding the necessity of new commissions and their impact on the development of band repertoire, as well as a historical overview of the percussion ensemble and list of similar works for this medium. iv ACKNOWLEDGEMENTS I would like to thank Aaron Perrine for collaborating with me on the production of this beautiful composition. I’d also like to thank Michael Compitello for assisting with the percussion design and set-up. I thank the members of the University of Kansas Wind Ensemble for enacting our vision.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1970
    ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • View PDF Document
    Alv1ERIC/\N ffiJETYCf UN~h\SITY CD!1RJSERS WINTER, 1976/Vol. 9, No. 1 BOSTON CONFERENCE The Eleventh Annual National Con­ Members who need hotel accommoda­ ference of the Society to be held at the tions may want to stay at the Statler­ New England Conservatory of Music in Hil ton where 150 rooms have been re­ Boston February 26-29 will also mark the served. Reservations may be made in first National Conference on Music Theory advance by using the hotel registration (see following article) . The closing form included with the Newsletter. session of the ASUC Conference will There is no pre-registration fee for the coincide with the first session of the Conference, but ASUC members will be Theory Conference to which ASUC members charged the usual five dollar fee at the are invited. This year's Conference time of registration. promises to be one of the most important Since there will not be another in the Society's ten year history and all Newsletter before the Boston meeting, a members are urged to make a special effort final Conference schedule will be mailed to attend. in January or early February. The following is a tentative schedule at this point. Thursday (February 26) : 3:00 p.m. Meeting of Executive Committee and National Council only (Statler-Hilton). 8:00 p.m. Concert: New England Conservatory Wind Ensemble conducted by Frank Battisti. 1Friday (February 27): 9:00 a.m. Greetings and Opening Remarks: Marshall Bialosky (National Chairman, ASUC), Gunther Schuller (New England Conservatory) . 9:15 a.m. Keynote Address.
    [Show full text]
  • CMS Southern Chapter Regional Conference
    1 CMS Southern Chapter Regional Conference February 25 – 27, 2021 Virtual Conference 2 A Message from the CMS Southern Chapter President Welcome to the 42nd Annual Conference of the CMS Southern Chapter! What a wonderful conference we had last year in Nashville at Vanderbilt, though it would end up being one of the few CMS regional conferences that took place in the spring. The year 2020 was indeed a difficult one, with a global pandemic, severe economic hardship and uncertainty, and a polarizing political climate during an election year. Like many other CMS chapters, we’re holding our conference online this year, and preparing for this conference has been unlike any other year in the 42 years of existence. But we charge ahead! This year’s conference will include all of the excellent performances, demonstrations, papers, posters, panels, and concerts that would occur during any year. Oral presentations (papers, panels, demonstrations, lecture recitals, and posters) will occur via Zoom meetings hosted by the session chair. All concerts will also occur on Zoom, and performances are pre- recorded and shared during the event by the session host. AirMeet will serve as our platform for hosting all Zoom sessions. Links to sessions are found in the AirMeet link (provided to all registrants via email). We are honored to have Dr. Gloria Ladson-Billings as our keynote speaker this year. Dr. Ladson-Billings is a renowned pedagogical theorist and teacher/educator. She will be joining us via Zoom on Saturday at 1pm for a presentation and Q&A session regarding her research as well as the powerful role music can play in change, reconstruction, and inclusivity.
    [Show full text]