DOCSLIB.ORG

Unifying Elements of Paul Lansky's Threads Gordon Benjamin Hicken the Florida State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unifying Elements of Paul Lansky's Threads Gordon Benjamin Hicken the Florida State University The Florida State University DigiNole Commons Electronic Theses, Treatises and Dissertations The Graduate School 7-9-2013 Unifying Elements Of Paul Lansky's threads Gordon Benjamin Hicken The Florida State University Follow this and additional works at: http://diginole.lib.fsu.edu/etd Recommended Citation Hicken, Gordon Benjamin, "Unifying Elements Of Paul Lansky's threads" (2013). Electronic Theses, Treatises and Dissertations. Paper 7421. This Dissertation - Open Access is brought to you for free and open access by the The Graduate School at DigiNole Commons. It has been accepted for inclusion in Electronic Theses, Treatises and Dissertations by an authorized administrator of DigiNole Commons. For more information, please contact [email protected]. THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC UNIFYING ELEMENTS OF PAUL LANSKY’S THREADS By GORDON HICKEN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2013 Gordon Hicken defended this treatise on June 24, 2013. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Richard Clary University Representative John Drew Committee Member Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS This document, and this degree, would not have been possible without the help, guidance, and support of numerous remarkable individuals: Dr. John W. Parks IV, my major professor, for taking a chance on me and pushing me to be the best musician and teacher I can be. Professor Richard Clary, Dr. John Drew, and Dr. Christopher Moore, my committee members. Dr. Scott Herring, Dr. John Beckford, Professor Jim Hall, and Mr. Ron Schwartz, my major professors throughout my collegiate career. Dr. Scott Weiss, Dr. Rebecca Phillips, Mr. Jayme Taylor, Mrs. Andrea Pouncey, and Dr. Scott Herring, my colleagues at the University of South Carolina, for supporting me throughout my first year on the faculty at South Carolina. My friends and colleagues in the Florida State University Percussion Studio, for allowing me to get to know and learn from some of the best people and players in the percussion world today. My parents and sister, for their encouragement and love throughout my life. And most importantly, my wife Laura, for her unending love and support in this endeavor - even through four moves and three job changes. I love you! iii TABLE OF CONTENTS List of Figures................................................................................................................................ vi Abstract........................................................................................................................................ xiii 1. INTRODUCTION...................................................................................................................1 1.1 Paul Lansky....................................................................................................................1 1.2 Threads ..........................................................................................................................2 2. PRELUDES AND ARIAS ......................................................................................................6 2.1 Sounds Present in Movement Family ............................................................................6 2.2 Musical Analysis............................................................................................................6 2.2.1 Prelude (Aria I) ..................................................................................................6 2.2.2 Aria II...............................................................................................................11 2.2.3 Aria III .............................................................................................................15 2.2.4 Chorale Prelude (Aria IV)................................................................................19 2.3 Performance Considerations ........................................................................................24 3. RECITATIVES .....................................................................................................................29 3.1 Sounds Present in Movement Family ..........................................................................29 3.2 Musical Analysis..........................................................................................................29 3.2.1 Recitative I.......................................................................................................29 3.2.2 Recitative II......................................................................................................37 3.2.3 Recitative III ....................................................................................................42 3.3 Performance Considerations ........................................................................................50 4. CHORUSES ..........................................................................................................................54 4.1 Sounds Present in Movement Family ..........................................................................54 4.2 Musical Analysis..........................................................................................................54 4.2.1 Chorus I............................................................................................................54 4.2.2 Chorus II ..........................................................................................................64 4.2.3 Chorus III.........................................................................................................74 4.3 Performance Considerations ........................................................................................83 5. UNIFYING ELEMENTS OF THREADS .............................................................................87 5.1 Sounds from Different Movement Families ................................................................87 5.2 Rhythmic Ideas ............................................................................................................88 5.3 Musical Voices ............................................................................................................90 APPENDICES ...............................................................................................................................93 A. COPYRIGHT PERMISSION ...............................................................................................93 B. PROGRAM NOTES AND LANSKY BIOGRAPHY ..........................................................95 C. INSTRUMENT KEY ............................................................................................................96 iv D. METAL PIPE SIZES ............................................................................................................97 REFERENCES ..............................................................................................................................98 BIOGRAPHICAL SKETCH .......................................................................................................100 v LIST OF FIGURES 2.1 Prelude (Aria I), three musical “voices”..............................................................................7 2.2 Prelude (Aria I), high toms ostinato.....................................................................................8 2.3 Prelude (Aria I), measures one and two...............................................................................8 2.4 Prelude (Aria I), composite rhythm from measure two .......................................................9 2.5 Prelude (Aria I), unison motive with articulation ................................................................9 2.6 Prelude (Aria I), hemiola and canon between vibraphone and glockenspiel.....................10 2.7 Prelude (Aria I), sixteenth notes align with actual and perceived pulse............................11 2.8 Aria II, opening passage ....................................................................................................11 2.9 Aria II, canon between vibraphone parts ...........................................................................12 2.10 Aria II, canon between vibraphone parts (continued)........................................................13 2.11 Aria II, Tuned Pipes melody against D5 ............................................................................13 2.12 Aria II, Tuned Pipes melody against D5 (continued).........................................................13 2.13 Aria II, first voice in rhythmic canon ................................................................................14 2.14 Aria II, full note values for rhythmic canon ......................................................................14 2.15 Aria II, rhythmic canon at sixteenth note beginning in measure 21 ..................................14 2.16 Aria II, rhythmic canon on D with articulations................................................................14 2.17 Aria III, unison quarter note texture ..................................................................................16 2.18 Aria III, four voices of rhythmic activity...........................................................................17 2.19
Load more

Recommended publications
  • Wind Symphony School of Music Illinois State University
    Illinois State University ISU ReD: Research and eData School of Music Programs Music 4-29-2012 Student Ensemble: Wind Symphony School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation School of Music, "Student Ensemble: Wind Symphony" (2012). School of Music Programs. 611. https://ir.library.illinoisstate.edu/somp/611 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University College of Fine Arts School of Music WIND SYMPHONY Stephen K. Steele, Conductor James F. Keene, Guest Conductor Carl Schimmel, Guest Composer Thomas Giles, Concerto Winner The Illinois State University Bands dedicate this concert and future performances to Allison Christine Zak Center for the Performing Arts Sunday Afternoon April 29, 2012 3:00 p.m. This is the two hundred and fourteenth program of the 2011-2012 Season. Program Carl Schimmel Oulipian Episodes (2012) (born 1975) I. Mots-Croisés II. "Intermezzo" from Orlando III. Malakhités IV. “Laborynthus” from Suite Sérielle 94 V. “Entr’acte” from This Golden Sickle in the Field of Stars VI. Incertum, op. 74 VII. La Toupie Premiere Performance Ingolf Dahl Concerto for Alto Saxophone (1912-1970) and Wind Orchestra (1949) I. Recitative II. Adagio (Passacaglia) III. Rondo alla marcia: Allegro Thomas Giles, Concerto Competition Winner Intermission Award Ceremony Percy Grainger Lincolnshire Posy (1937) (1882-1961) I.
    [Show full text]
  • The Importance of Being Digital Paul Lansky 3/19/04 Tart-Lecture 2004
    The Importance of Being Digital Paul Lansky 3/19/04 tART-lecture 2004 commissioneed by the tART Foundation in Enschede and the Gaudeamus Foundation in Amsterdam Over the past twenty years or so the representation, storage and processing of sound has moved from analog to digital formats. About ten years audio and computing technologies converged. It is my contention that this represents a significant event in the history of music. I begin with some anecdotes. My relation to the digital processing and music begins in the early 1970’s when I started working intensively on computer synthesis using Princeton University’s IBM 360/91 mainframe. I had never been interested in working with analog synthesizers or creating tape music in a studio. The attraction of the computer lay in the apparently unlimited control it offered. No longer were we subject to the dangers of razor blades when splicing tape or to drifting pots on analog synthesizers. It seemed simple: any sound we could describe, we could create. Those of us at Princeton who were caught up in serialism, moreover, were particularly interested in precise control over pitch and rhythm. We could now realize configurations that were easy to hear but difficult and perhaps even impossible to perform by normal human means. But, the process of bringing our digital sound into the real world was laborious and sloppy. First, we communicated with the Big Blue Machine, as we sometimes called it, via punch cards: certainly not a very effective interface. Next, we had a small lab in the Engineering Quadrangle that we used for digital- analog and analog-digital conversion.
    [Show full text]
  • Unifying Elements of Paul Lansky's Threads Gordon Hicken
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Unifying Elements of Paul Lansky's Threads Gordon Hicken Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC UNIFYING ELEMENTS OF PAUL LANSKY’S THREADS By GORDON HICKEN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2013 Gordon Hicken defended this treatise on June 24, 2013. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Richard Clary University Representative John Drew Committee Member Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS This document, and this degree, would not have been possible without the help, guidance, and support of numerous remarkable individuals: Dr. John W. Parks IV, my major professor, for taking a chance on me and pushing me to be the best musician and teacher I can be. Professor Richard Clary, Dr. John Drew, and Dr. Christopher Moore, my committee members. Dr. Scott Herring, Dr. John Beckford, Professor Jim Hall, and Mr. Ron Schwartz, my major professors throughout my collegiate career. Dr. Scott Weiss, Dr. Rebecca Phillips, Mr. Jayme Taylor, Mrs. Andrea Pouncey, and Dr. Scott Herring, my colleagues at the University of South Carolina, for supporting me throughout my first year on the faculty at South Carolina.
    [Show full text]
  • Salt Lake City August 1­—4, 2019 Nfac Discover 18 Ad OL.Pdf 1 6/13/19 8:29 PM
    47th Annual National Flute Association Convention Salt Lake City August 1 —4, 2019 NFAc_Discover_18_Ad_OL.pdf 1 6/13/19 8:29 PM C M Y CM MY CY CMY K Custom Handmade Since 1888 Booth 110 wmshaynes.com Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. schmittmusic.com/f lutegallery Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 214 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2019, Salt available in Carbon Fibre. Lake City! Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. 00 44 (0)20 8778 0752 [email protected] schmittmusic.com/f lutegallery www.wisemanlondon.com TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ...............................................................
    [Show full text]
  • (CCM)2 - College-Conservatory of Music Center for Computer Music, University of Cincinnati
    (CCM)2 - College-Conservatory of Music Center for Computer Music, University of Cincinnati Mara Helmuth, Director (CCM)2 (1) Michael Barnhart, Carlos Fernandes, Cheekong Ho, Bonnie Miksch (1) Division of Composition, History and Theory - College-Conservatory of Music, University of Cincinnati [email protected] [email protected] http://meowing.ccm.uc.edu Abstract The College-Conservatory of Music Center for Computer Music at the University of Cincinnati is a new environment for computer music composition and research. Composers create sound on powerful systems with signal processing and MIDI, with an excellent listening environment. The technical and aesthetical aspects of computer music can be studied in courses for composers, theorists and performers. Innovative research activity in granular synthesis, live performance interfaces and sound/animation connections is evolving, incorporating collaborative work with faculty in the School of Art. CCM has traditionally had a lively performance environment, and the studios are extending the capabilities of performers in new directions. Computer music concerts and other listening events by students, faculty and visiting composers are becoming regular occurrences. 1 Introduction video cables connect the studios and allow removal of noisy computer CPUs from the listening spaces. Fiber network connections will be installed for internet An amorphous quality based on many aspects of the access and the studio website. The studios will also be environment, including sounds of pieces being created, connected by fiber to a new studio theater, for remote personalities of those who work there, software under processing of sound created and heard in the theater. construction, equipment, layout and room design, and The theater will be equipped with a sixteen-channel architecture creates a unique studio environment.
    [Show full text]
  • A Study on the Use of Vocal Samples and Vocal Transformation Techniques in the Music of Paul Lansky and Trevor Wishart
    THE UNIVERSITY OF SYDNEY Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author -subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright A Study on the Use of Vocal Samples and Vocal Transformation Techniques the Music of Paul Lansky and Trevor Wishart Shamun Hameed A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Composition) Sydney Conservatorium of Music University of Sydney 2005 Table of Contents A b s tr a c t iii C h a p te r 1 Introduction
    [Show full text]
  • A Tuner of His World: an Interview with Paul Lansky
    A Tuner of His World: An Interview with Paul Lansky Alistair Riddell Few composers in recent years have explored the boundaries of computer music as imaginatively as Paul Lansky. Recognizing that Lansky's creative stature is as palpable in the exquisiteness of his music as it is in the detail of his curriculum vi-, I decided to think of this interview as a collection of corridor chats (non-linear, of course!). Over time, I was hoping to gain insight into his current creative concerns the way I had through incidental daily contact as a graduate student at Princeton in the early 1990s. Although this interview was conducted by email, the text, I hope, has an imprint of candid spontaneity and informality to the extent possible through this type of exchange and under the imperative of general publication. The fact that we are seasoned emailers-communicating this way for more than a decade now-would, at least, ensure that the interview mechanics were natural and relaxed. Certainly, this text is considered. Its measure is different from that of a conversation transcribed from a recording because it evolved over a much longer period. A slow dialogue in electronic letters. I like to imagine he composed his responses on the same computer he composes his music (I know I did). Entirely probable, and an observation I'm sure would appeal to his sense of technological engagement. To view Lansky as a computer hacker or boffin is to see him with only one of his hats on (others he wears are Professor of music at Princeton University, composer, guitar freak and folk music lover).
    [Show full text]
  • Dictionary of Music.Pdf
    The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London.
    [Show full text]
  • Section 9: Analysis and Resynthesis Procedures
    9. Analysis and resynthesis procedures (This section last updated June 2002) This section provides tutorial information on three analysis/resynthesis techniques available on the ECMC SGI and Linux systems: • phase vocoder programs analyze the changing signal energy within hundreds or thousands of very narrowfrequencybands; during resynthesis, the signal is reconstructed, but modifications in pitch, duration or other parameters can be introduced • sms ("Spectral Modeling Synthesis") is a package of programs originally developed at CCRMA (Stanford University) in which sounds are divided into a periodic (pitched) component, analyzed in a manner similar to phase vocoder procedures, and a "stochastic" (aperiodic) component, analyzed as filtered white noise. sms resynthesis techniques provide a broad range of sound modification possi- bilities, including timbral morphing, but work much better with certain types of sounds than with oth- ers. • linear predictor coding (lpc)analysis and resynthesis programs do not attempt to capture every frequencycomponent within a source sound,but rather to capture time-varying spectral formants (res- onances, or emphasized narrowfrequencybands). Spectral formant analyses created by lpc software can be used with Eastman Csound Library instrument algorithm resyn to produce varied resynthesis of a sound, or with algorithm xsyn to create a hybrid, cross-synthesized "child" sound that has some characteristics of its two"parent" sounds; lpc resynthesis and cross-synthesis also can be performed with the mixviews application.
    [Show full text]
  • Primary Compositional Characteristics in the Instrumental Music of Paul
    PRIMARY COMPOSITIONAL CHARACTERISTICS IN THE INSTRUMENTAL MUSIC OF PAUL LANSKY AS DEMONSTRATED IN HOP (1993) Eric Jason Willie, B.S., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Mark Ford, Major Professor Bernardo Illari, Committee Member Christopher Deane, Committee Member Lynn Eustis, Director of Graduate Studies John Holt, Chair, Division of Instrumental Studies James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Willie, Eric Jason. Primary Compositional Characteristics in the Instrumental Music of Paul Lansky as Demonstrated in Hop (1993). Doctor of Musical Arts (Performance), December 2010, 53 pp., 2 tables, 18 musical examples, sources, 27 titles. This dissertation provides insight into the compositional characteristics of Paul Lansky’s instrumental works as demonstrated in Hop (1993). As well, this document intends to make Hop more approachable to performers through a structural, harmonic, and rhythmic analysis. This dissertation presents a brief overview of Lansky’s biographical information, discusses background information about Marimolin (the ensemble that premiered the piece), and provides an analysis of Hop. Hop is analyzed with regard to form, harmony, and rhythm. The analysis was conducted through a tonal approach, and harmonies are identified with a lead sheet analysis. Personal interviews with Paul Lansky and marimbist Nancy Zeltsman provided significant insight into Lansky’s influences, musical characteristics, as well as other elements pertaining to Hop. Copyright 2010 by Eric Jason Willie ii ACKNOWLEDGEMENTS I want to thank my family and friends who have supported me throughout this process, particularly my wife Rebecca, my grandparents, and my parents.
    [Show full text]
  • Australasian Computer Music Association Conference 2004
    News Australasian Computer Music the Universidad Nacional de Tres de Synthesizer’’; Tim Opie: ‘‘Granular Association Conference 2004 Febrero, Buenos Aires, Argentina. Synthesis: Conception and Continu- Friday’s concerts included a num- ity’’; and Dave Burraston and Ernest ber of works for 5.1 surround sound Edmonds: ‘‘Global Dynamics Ap- The twelfth Australasian Computer as well as for a variety of perfor- proach to Generative Music: Experi- Music Association Conference was mance control systems. Concert 4 ments with One Dimensional held in Wellington, New Zealand, on included Jeremy Yuille’s human be- Cellular Automata.’’ Session 3 in- 1–3 July 2004, with the theme Ghost ings are animals too; Brigid Burke’s cluded Lindsay Vickery: ‘‘Interactive in the Machine: Performance Prac- Gesturing on the Move; David control of higher order musical struc- tice in Electronic Music. Topics for Hirst’s La Vie Naturelle; Panayiotis tures’’; David Hirst: ‘‘Fission Or Fu- the sessions included performance Kokoras’s Response; Robert Sazdov’s sion: Analyzing The Acousmatic practice, electronic media, software Mesecina; and Michael Parsons’s Reaction’’; Greg Schiemer, Stephen development, interfaces and interac- Skitter. Concert 5 included Gordon Ingham, John Scott, Aaron Hull, Da- tivity, synthesis, spatialization, re- Monro’s What are you really think- mien Lock, Didier Balez, Gareth Jen- cording methodology, virtual ing?; Warren Burt’s Poems of Rewi kins, Ian Burnett, Guillaume Potard, instruments, analysis, audio repro- Alley; Robin Maconie Measures; and Mark O’Dwyer: ‘‘Configurable duction, traditional/non-traditional Aviary Hemisphere Environment for Spatial- applications—generative music, and Catherine Schieve’s ; and ized Sound’’; Jim Barbour: ‘‘Explora- the ArMaDillo.
    [Show full text]
  • Electroacoustic Music Studios BEAST Concerts in 1990
    Electroacoustic Music Studios BEAST Concerts in 1990 Aural Cinema, London, England, 11th - 12th May More about BEAST concerts:- Edinburgh International Festival, Edinburgh, Scotland, 18th August ICMC 1990, Glasgow, Scotland, 10th - 15th September Concert news Concert archives Aural Cinema, 11th - 12th May 1990 Purcell Room, London, England Diffusion for the Sonic Arts Network. Edinburgh International Festival, 18th August 1990 Edinburgh, Scotland Details unknown. International Computer Music Conference 1990, 10th - 15th September 1990 Glasgow, Scotland BEAST provided all diffusion and PA for this series of concerts, achieving international recognition. 10th September 1 pm Barry Anderson - Electro-acoustic Fanfare Shirish Korder - Time Grids William Brunson - Exile and Life Close to the Horizon John Maxwell Geddes - Leo, Dreaming... Emile Tobenfeld - improvisation 5 pm 1. Rodolfo Caesar - Introduction to the Stone 2. David Little - Harpsi-Kord 3. Andrew Lewis - Time and Fire 4. Keith Hamel - Thrust 11th September 12th September 1 pm 1 pm 1. Rodney Waschka II - Help Me Remember 1. Chris Chafe and Dexter Morrill - duo improvisation 2. Horacio Vaggione - Scir 2. Richard Boulanger - I Know of no Geometry 3. Michael McNabb - Lark Full Cloud 3. Arne Eigenfeldt - Inside Leanardo 4. Mark Schulz - Dragons in the Sky 8 pm 8 pm 1. Todd Winkler - Cascade: Concerto for Harp and Tape 2. Arne Eigenfeldt - Sands of Sirocco 1. Michael Vaughan - Crosstalk 3. Cort Lippe - String Trio Music 2. Bob Pritchard - Postcards from our Futures 4. Javier Alvarez - Acuerdos Por Diferencia 3. Nicholas Virgo - Domestic Blitz 5. Chris Chafe - Vanishing Point 4. David Jaffe - Telegram to the President 6. David Evans Jones - Still Life in Wood and Metal 5.
    [Show full text]