Jay Alan Yim Awards and Fellowships
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For Alto Saxophone, Electric Guitar, Percussion, Piano, Violoncello, and Electric Bass
HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Eric C. Honour, Jr. HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Performance Notes 1. This piece comes in large part from the world of the rock band. It is thus recommended that the ensemble be treated in like manner. For performance, all instruments should be amplified, either with microphones, contact microphones or pick-ups. If available, the cellist may use electric cello. 2. The electric guitar should be played with distortion at all times. The performer should use a moderate amount of distortion, a lead distortion setting, as opposed to a maximum crunch, “headbanging” distortion. 3. Accidentals follow standard practice and last through the measure, only on the specific pitch marked (not in other octaves). 4. Percussion requirements are a marimba (low-A, to be played with hard mallets always) and a 6-piece drum set (4 toms, kick, and snare) with hihats, two crash cymbals, and a ride cymbal. Some players may be able to fit a marimba next to the drum set so that they can sit throughout the piece. 5. When presented with standard notation (in black), performers should treat the music in a traditional manner. When presented with other styles of notation, performers should not attempt to align their performance with that of other performers unless asked to do so. Only the large scale motion from box to box, which is to be cued by the conductor, is to be aligned between all the parts. Even then, performers are always permitted to carry their current activity into the next box, as needed. -
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ATHANASIOS ZERVAS | BIOGRAPHY BRIEF BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He holds a DM in composition and a MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with Frank Garcia, M. William Karlins, William Russo, Stephen Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke, and Wayne Richards; jazz saxophone and improvisation with Vernice “Bunky” Green, Joe Daley, and Paul Berliner. Dr. Athanasios Zervas is an Associate Professor of music theory-music creation at the University of Macedonia in Thessaloniki Greece, Professor of Saxophone at the Conservatory of Athens, editor for the online theory/composition journal mus-e-journal, and founder of the Athens Saxophone Quartet. COMPLETE BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He has spent most of his career in Chicago and Greece, though his music has been performed around the globe and on dozens of recordings. He is a specialist on pitch-class set theory, contemporary music, composition, orchestration, improvisation, music of the Balkans and Middle East, and traditional Greek music. EDUCATION He holds a DM in composition and an MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with M. William Karlins, William Russo, Stephen L. Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke and Wayne Richards; jazz saxophone and improvisation with Vernice ‘Bunky’ Green, Joe Daley, and Paul Berliner; and jazz orchestration/composition with William Russo. RESEARCH + WRITING Dr. -
Stall Song.Mus
Stall Song for oboe and two guitars "Practice Saves" Eric C. Honour, Jr. Program Notes Stall Song began as a piece for soprano and two guitars, on texts copied from a bathroom stall in the Utt Music Building on Central Missouri State University's campus. The text was not risqué; instead, it consisted of a rather amusing argument about religion and music practice schedules. It began with the words "Practice Saves," which apparently offended another person, who responded "Jesus Saves." A well-reasoned discussion ensued, covering most of the walls of the toilet stall. As the piece developed, the melodic line began to be difficult to sing. Rather than abandon the line – I was quite fond of it – I decided to abandon the soprano and the text, and they were replaced with an oboe. The singing, lyrical nature of the piece is retained and the rhythmic stresses in the oboe recitative near the beginning of the work come from the stress patterns of the original text. The text and the soprano will appear in Stall Song II. ERIC HONOUR is director of music technology at Central Missouri State University. He holds degrees in saxophone performance and composition from the University of Florida and Northwestern University. He studied composition with Jay Alan Yim, Stephen Syverud, M. William Karlins, Alan Stout, and Budd Udell. His music has been performed in concerts, festivals, and conferences throughout the United States and in Europe. His work as an audio engineer is in demand, with credits on albums released by artists based in Kansas City, London, New York and Virginia Beach. -
Operations RG.03
Operations RG.03 This finding aid was produced using ArchivesSpace on January 24, 2019. Describing Archives: A Content Standard The papers of the American Academy in Rome 7 East 60 Street New York, New York 10022 [email protected] URL: http://www.aarome.org Operations RG.03 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Arrangement ................................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Collection Inventory ....................................................................................................................................... 4 - Page 2 - Operations RG.03 Summary Information Repository: The papers of the American Academy in Rome Title: Operations ID: RG.03 Date [inclusive]: 1895-2018 Physical Description: 209.45 Linear Feet Language of the English Material: ^ Return to Table of Contents Scope and Contents This Record Group is comprised of records that document the functions of the American Academy in Rome (AAR). Records in this group include administrative files that document the daily operations -
An Approach to Latin American Music a Research
NORTHWESTERN UNIVERSITY THE CONCEPT OF IDENTITY: AN APPROACH TO LATIN AMERICAN MUSIC A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Composition By José Miguel Arellano EVANSTON, ILLINOIS February, 2018 This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/. 1 ABSTRACT The Concept of Identity: An Approach to Latin American Music José Miguel Arellano Since the beginning of the 21st century, the idea of building a Latin American musical discourse has returned to the artistic discussion, taking into account the peculiarities of cultural syncretism that manifest in the different countries of the region. From the most diverse aesthetics and through different musical media, a great number of composers have begun to rethink the possibility of articulating their artistic language through different mechanisms that could be considered as typical of Latin American culture: rediscovery of Aboriginal music, utilization of vernacular instruments, non-tempered melodic and harmonic systems, rhythmic irregularities, and mixture between art forms among many different other approaches. This dissertation proposes a historical review of different moments in Latin American history in which composers, artists and intellectuals tried to elaborate a local identity, analyzing the diverse problems that might have arisen from the cultural, social, and political contexts of the different periods studied. A second part of this work will be the articulation of a personal approach to the study of music and processes of identity formation in Latin America, with a special emphasis on the particular case of Chile and its development from the late 19th century to the present day. -
Accademia Di Santa Cecilia, Rome 35 Accademia Filarmonica Romana 77
Index Accademia di Santa Cecilia, Rome 35 Australia Ensemble 170 Accademia Filarmonica Romana 77, Australian Ballet 138 90 Adeney, Richard 111 Babbitt, Milton 114, 133, 143, 152, 172 Adler, Oscar 65 Ensembles for Synthesizer 152 Adlington, Robert 141, 151 Philomel 114, 116, 133 Adorno, Theodor W. 79, 81 Bach, Johann Sebastian 148, 160-61 Aeolian Hall, London 73 Ich bin vergnügt mit meinem Glücke, Agrippa, Cornelius 169 BWV 84 160-61 Aldeburgh Festival 87, 110, 114, 131 Meine Seele erhebet den Herrn, BWV Alexandra, John 94 10 147 Alsop, Will 144, 146 Balfe, Michael W. 55, 58, 64, 186 Amis, John 3 ‘I dreamt I dwelt in marble halls’ 55, Anderson, Hedli 68-9, 72, 74, 93, 96-7, 58, 186-89 105-06, 111, 177 The Bohemian Girl 64, 186 Andriessen, Louis 175 Ballet Rambert 123 Anglesey Festival 131 Ballet Russes 27 Anglo-Austrian Music Society 115 Banks, Don 146, 152 Anstey, Edgar 53-4, 59, 61, 63 Equation (Part 1) 152 ApIvor, Denis 99-100, 103 Baptist, Maria 177 Landscapes, Op. 15 100, 103 Pierrot lunaire [with jazz interludes] Aprahamian, Felix 3 177 Aronowitz, Cecil 111, 133 Bath Festival 110 Ars Nova of Cluj 178, 180 Bartók, Béla 95, 97, 134 Arts Council of Great Britain 65, 100, Contrasts, BB116 95, 97 102, 108-09, 132, 140, 172, 179 Barlow, Howard 39 Arts Theatre Club, London 49 Barton, Lionel 61 Ashby, John 94, 101 Bate, Philip 96 Associació de Música de Camara 36 Batstone, Philip 118-19 Associated Realist Film Producers John Street 118 (AFRP) 53-4, 59 Bauer-Schenk, Günther 176 Auden, W. -
Jan Berry, Saxophone ■ V with P« Roger Admiral, Piano and Anne Scott, Cello
h mm iiM I! Jan Berry, saxophone ■ V with p« Roger Admiral, piano and Anne Scott, cello Sunday, March 7,1999 at 8:00 pm Convocation Hall, Arts Building I University of Alberta to Department of Music University of Alberta Program Concerto for Alto Saxophone and Concert Band (1967) Karel Husa I Prologue (1921) II Ostinato III Epilogue Four Short Songs: a certain sadness(1991) Mark Engebretson For Alto Saxophone and Cello (b. 1964) *Canadian Premiere Distances Within Me(1979) John Anthony Lennon (b.l950) Intermission aetema(1996) John Anthony Lermon Sonata (1984) William Albright I Two-Part Invention (1944-1998) II La follia nuova: a lament for George Cacioppo III Scherzo "Will o' the wisp IV Recitative and Dance Program Notes of this piece, the original being the version for alto saxophone and cello. While the version for 3 saxophones and the version for saxophone and piano Karel Husa was bom in Prague, Czechoslovakia, where he studied at the were premiered earlier, the orginal version was premiered by Kristin Uglar Prague Conservatory. After moving to Paris to study with Boulanger and and an unknown cellist in March 1993." Honegger at the Conservatoire he emigrated to the United States where he has been on the faculty at Cornell University since 1954. He was awarded the John Anthony Lennon has received commissions from the Fromm Foundation, the 1969 Pulitzer Prize for his Third String Quartet. John F. Kennedy Theatre Chamber Players, Library of Congress, the Boston Symphony Chamber Players, the National Endowment for the Arts Orchestral Written in 1967, the Concertofor Alto Saxophone and Concert Band was Consortium and many others. -
HENRY and LEIGH BIENEN SCHOOL of MUSIC SPRING 2017 Fanfare
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC SPRING 2017 fanfare 124488.indd 1 4/19/17 5:39 PM first chair A MESSAGE FROM THE DEAN One sign of a school’s stature is the recognition received by its students and faculty. By that measure, in recent months the eminence of the Bienen School of Music has been repeatedly reaffirmed. For the first time in the history of the Van Cliburn International Piano Competition, this spring one of the contestants will be a Northwestern student. EunAe Lee, a doctoral student of James Giles, is one of only 30 pianists chosen from among 290 applicants worldwide for the prestigious competition. The 15th Van Cliburn takes place in May in Ft. Worth, Texas. Also in May, two cello students of Hans Jørgen Jensen will compete in the inaugural Queen Elisabeth Cello Competition in Brussels. Senior Brannon Cho and master’s student Sihao He are among the 70 elite cellists chosen to participate. Xuesha Hu, a master’s piano student of Alan Chow, won first prize in the eighth Bösendorfer and Yamaha USASU Inter national Piano Competition. In addition to receiving a $15,000 cash prize, Hu will perform with the Phoenix Symphony and will be presented in recital in New York City’s Merkin Concert Hall. Jason Rosenholtz-Witt, a doctoral candidate in musicology, was awarded a 2017 Northwestern Presidential Fellowship. Administered by the Graduate School, it is the University’s most prestigious fellowship for graduate students. Daniel Dehaan, a music composition doctoral student, has been named a 2016–17 Field Fellow by the University of Chicago. -
Title Orchestration and Duration Commissions and First
Title Orchestration and Duration Commissions and First Publisher Performances Asht Prahar (1965) 3+3.33+2(incl.sx) 3/44+1.31/ First performance 17th January 1970, Wise Music Classical, timp/3perc/pf+cel/2hp/str/sop London Philharmonic Orchestra formerly Novello and 25 minutes conducted by Norman del Mar. SPNM Co. Ltd.i concert, Royal Festival Hall. Concerto for Harmonica, Solo harmonica; 4perc/pf+cel.2hp/man/ Written for and dedicated to Larry Wise Music Classical Percussion and Strings (1966) str Adler. Awaits first performance. 15 minutes Aalaykyam I (1970) 2+1.1+1.1+1.1/1110/3perc/pf/hp/str First performance 27th November 1971, Wise Music Classical 15 minutes London Sinfonietta conducted by Andrew Davis, Queen Elizabeth Hall. Aalaykyam II (1972) 1111/1110/perc/pf/hp/man/gtr/str First performance 5th February 1973, Wise Music Classical 22 minutes English Chamber Orchestra conducted by Andrew Davis, Queen Elizabeth Hall. Indra-Dhanush (1973) 3+2.33+1.3+1/4431/4perc/2hp/pf+cel/str Awaits a first performance. Wise Music Classical 16 minutes Dhyan I (1974) Solo violoncello; Commissioned by the BBC. Wise Music Classical 1111/1110/3perc/hp/pf/str First performance 27th January 1975. 16 minutes Soloist Thomas Igloi with the BBC Symphony Orchestra conducted by David Atherton, The Round House, London. 1 Tandava Nritya (Dance of 3+3.3+1.3+1.3/4331/timp/ Commissioned by the British Council Wise Music Classical Destruction 3perc/hp/str for the London Symphony Orchestra. and Re-creation)(1984) 15 minutes First performance 8th April 1993, Royal Scottish Orchestra conducted by David Davies. -
SRCD385 Book
Nicholas Maw Spring Music Voices of Memory BBC National Orchestra of Wales William Boughton Sonata for Solo Violin Harriet Mackenzie two ideas: the first is a songlike line that rises from low to very high, while the second Nicholas Maw (1935-2009) consists of a wistful sighing motive in double-stopped tremolo. A more flowing episode leads, via the sighing motive, into a solemn sequence reminiscent of a funeral march, with a steady, pulsing ostinato played both arco and pizzicato on open strings. There Spring Music for Orchestra (1982 rev.1984) 14.38 is a telescoped repeat of the faster music and the atmospheric coda is played as though 1 Allegro brillante 2.50 heard from afar. 2 - Moderato con moto, sempre grazioso 5.04 The last movement, ‘Flight’, is fast and vigorous, characterised by tremolando bowing 3 - a tempo 3.09 and shifting rhythmic accents. At the heart of the movement is a more relaxed, lyrical 4 - Comodo e sempre grazioso 3.35 passage with a richly sonorous chordal texture. After this the music rapidly gathers pace resulting in a varied reprise of the opening section before an impulsive dash to the finish. In Maw’s Sonata for Solo Violin, the constraints of writing for a single stringed Voices of Memory - Variations for Orchestra (1995) 27.01 instrument in a four-movement, large-scale work are deftly surmounted by the 5 Theme Grave e sostenuto 1.10 composer’s gift for melodic lines and rhythmic invention. Each movement has a vivid 6 Variation 1 Poco più mosso 0.54 sense of colour, formal logic and onward momentum so that the writing, however 7 Variation 2 Poco movimento 2.19 demanding it may be, never suggests an arid study or a shallow technical exercise. -
New Music Series, the Music of Marcos Balter and Stacy Garrop
Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 2-19-2017 2:00 PM New Music Series, The uM sic of Marcos Balter and Stacy Garrop, February 19, 2017 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "New Music Series, The usicM of Marcos Balter and Stacy Garrop, February 19, 2017" (2017). Conservatory of Music Concert Programs. Program 121. http://lux.lawrence.edu/concertprograms/121 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. New Music Series 2016-17 The Music of Marcos Balter and Stacy Garrop The Music of Marcos Balter and Stacy Garrop Sunday, Feb. 19 8 p.m. Harper Hall Intercepting a Shivery Light Marcos Balter (b. 1974) Sumner Truax, soprano saxophone Daniel Whitworth, soprano saxophone Becky Swanson, alto and tenor saxophone Garrett Evans, alto and baritone saxophone Wicker Park Balter Jack Breen, soprano saxophone Stubborn as Hell Stacy Garrop (b. 1969) Garrett Evans, soprano saxophone Sumner Truax, soprano saxophone Strohbass Balter Erin Lesser, bass flute Gabe Peterson, baritone saxophone Flight of Icarus Garrop Sumner Truax, soprano saxophone Daniel Whitworth, soprano saxophone Becky Swanson, tenor saxophone Garrett Evans, baritone saxophone 1 Stacy Garrop’s music is centered on dramatic and lyrical storytelling. Stacy earned degrees in music composition at the University of Michigan The sharing of stories is a defining element of our humanity; we strive to (B.M.), University of Chicago (M.A.) and Indiana University (D.M.). -
Anfare in Positions in Professional Orchestras
SPRING 2013 ANFA RE F northwestern university Henry and Leigh Bienen School of Music first chair A MESSAGE FROM THE DEAN other music schools around the country of a $6 million gift from the Robert W. have begun to emulate our programs. Galvin Foundation to name the building’s On behalf of the Bienen School of Music, Our graduates also continue to achieve recital hall in honor of longtime arts I am pleased to present the first spring issue success through such traditional paths as patron and 1945 Northwestern graduate of Fanfare in positions in professional orchestras. Many Mary B. Galvin. more than a of them have greatly benefited from the This issue of Fanfare documents decade. To reflect school’s ongoing relationships with two how the school’s consistent pursuit of the many excit- of the nation’s top training orchestras, the its mission to educate the 21st century’s ing developments Civic Orchestra of Chicago and the New outstanding artist-scholars empowers stu- at the school, our World Symphony. dents to thrive in a wide range of directions. alumni magazine New developments on campus are But the stories presented here serve only has returned to providing our students with significant as brief chapters in the much larger story a biannual publi- professional advantages as well. Our opera of Bienen School success that is collectively cation schedule. program now offers voice students the authored every day by the school’s faculty, This issue celebrates the many diverse paths opportunity to perform with leading pro- students, and 9,000 alumni.