DOCSLIB.ORG

William Kraft Collection of Musical Compositions, Ca

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Kraft Collection of Musical Compositions, Ca http://oac.cdlib.org/findaid/ark:/13030/tf6x0nb4dp No online items Finding Aid for the William Kraft Collection of Musical Compositions , ca. 1974-1983 Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 1999 The Regents of the University of California. All rights reserved. Finding Aid for the William Kraft 74 1 Collection of Musical Compositions , ca. 1974-1983 Finding Aid of the William Kraft Collection of Musical Compositions, ca. 1974-1983 Collection number: 74 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 1987 Encoded by: UCLA Performing Arts Special Collections staff © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: William Kraft Collection of Musical Compositions, Date (inclusive): ca. 1974-1983 Collection number: 74 Creator: Kraft, William Extent: 18 boxes (9 linear ft.) Repository: University of California, Los Angeles. Performing Arts Special Collections Los Angeles, California 90095-1575 Shelf location: Held at SRLF. Language: English. Source of Acquisition/Provenance William Kraft; gift; 1982-99. Access COLLECTION STORED OFF-SITE: Advance notice required for access. Publication Rights Copyright has not been assigned to the Performing Arts Special Collections. All requests for permission to publish or quote from manuscripts must be submitted in writing to Performing Arts Special Collections Librarian. Permission for publication is given on behalf of Performing Arts Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder(s), which must also be obtained. Preferred Citation [Identification of item], William Kraft Collection of Musical Compositions, 74, Performing Arts Special Collections, University of California, Los Angeles. Biography Finding Aid for the William Kraft 74 2 Collection of Musical Compositions , ca. 1974-1983 Kraft was born on Sept. 6, 1923, in Chicago, IL; BS (1951) and MA (1954) in composition, Columbia Univ.; percussionist, Los Angeles Philharmonic Orchestra (LAPO), 1955-81; became the music director of the LA Percussion Ensemble and Chamber Players in 1955; became director of LAPO New Music Group in 1981; composer-in-residence, LAPO, 1981-85; recipient of Guggenheim fellowships (1967 & 1972), NEA grants (1975, 1977, 1979), and an award from the American Academy and Institute of Arts and Letters (1984); his intimate knowledge of percussion instruments is an important influence on his work; his works include a number of large-scale works for orchestra and percussion. Organization Arranged in the following series: 1. Music for film and television productions (boxes 1-9) 2. Musical compositions (boxes 10-18) 3. Other materials (boxes 11, 14). Scope and Content Holographs, ozalid masters and copies, and photocopies of scores and parts of music for film and television. Includes scores for Avalanche, Bill, The Chisholms, The Elephants: Last Day in Eden, Fire and Ice, The Homeric Hymn to Demeter, and Kirlian Force. The Collection also includes scores for musical compositions, including L'Arlésienne Sweet, Da dit, Passacaglia, Theme and Metric Variations, Etude for Two Drums, English Suite, Courante no.2, Me and Mr. Stenner, Nonet for Brass and Percussion, Permutations, Theme and Variations for Percussion Quartet, Weavings, Brazen, Cadeau, Cascando, Colorations, Concerto for Percussion, Concerto for Timpani, Contextures, Cornucopia, Divinations, Incantation, Kandinsky Variations, Pierrot Mute, Quintessence Revisited, Red Azalea, and Selbstmord. Access Points Kraft, William--Archives. Composers--United States--Archival resources. Motion picture music. Television music. Music--Manuscripts. Motion picture music--Scores. Television music--Scores. Series I. Music for Film and Television 1. Avalanche (1978) Box 1, Folder 1 Avalanche, Cue 1. [unittitle added: see error report] Scope and Content Note Avalanche Main Title. Box 1, Folder 1 Avalanche, Cue 2. [unittitle added: see error report] Scope and Content Note Bruce Skiing and First Avalanche. Box 1, Folder 1 Avalanche, Cue 3. [unittitle added: see error report] Scope and Content Note The Avalanche. Box 1, Folder 1 Avalanche, Cue 4. [unittitle added: see error report] Scope and Content Note Firemen to the Rescue. Finding Aid for the William Kraft 74 3 Collection of Musical Compositions , ca. 1974-1983 Series I. Music for Film and Television 1. Avalanche (1978) Box 1, Folder 1 Avalanche, Cue 5. [unittitle added: see error report] Scope and Content Note Nick and David to the Rescue. Box 1, Folder 1 Avalanche, Cue 6. [unittitle added: see error report] Scope and Content Note End Credits. Box 1, Folder 1 Avalanche, Cue 7. [unittitle added: see error report] Scope and Content Note Tina Leaves Screaming. Box 1, Folder 1 Avalanche, Cue 8. [unittitle added: see error report] Scope and Content Note The Races. Box 1, Folder 1 Avalanche, Cue 9. [unittitle added: see error report] Scope and Content Note David Sights the Burning Ambulance. Box 1, Folder 1 Avalanche, Cue 10. [unittitle added: see error report] Scope and Content Note Kathy's Sequence. Box 1, Folder 1 Avalanche, Cue 11. [unittitle added: see error report] Scope and Content Note Bruce and Annette in Bed. Box 1, Folder 1 Avalanche, Cue 12. [unittitle added: see error report] Scope and Content Note The Aftermath. Box 1, Folder 1 Avalanche, Cue 13. [unittitle added: see error report] Scope and Content Note The Cornice. Box 1, Folder 1 Avalanche, Cue 14a-b. [unittitle added: see error report] Scope and Content Note 14a: Plane Thru Motns [Plane Through Mountains], 14b: Bleachers Blowing Over. Box 1, Folder 1 Avalanche, Cue 15. [unittitle added: see error report] Scope and Content Note Army Rescue. Box 1, Folder 1 Avalanche, Cue 16. [unittitle added: see error report] Scope and Content Note Mother Goes Down / Henry Comes Through. Box 1, Folder 1 Avalanche, Cue 17. [unittitle added: see error report] Scope and Content Note Annette's Sequence (Ice Skating). Finding Aid for the William Kraft 74 4 Collection of Musical Compositions , ca. 1974-1983 Series I. Music for Film and Television 1. Avalanche (1978) Box 1, Folder 1 Avalanche, Cue 18. [unittitle added: see error report] Scope and Content Note Nick and Caroline at the Pool. Box 1, Folder 1 Avalanche, Cue 19. [unittitle added: see error report] Scope and Content Note Nick and Caroline at the Cabin. Box 1, Folder 1 Avalanche, Cue 20. [unittitle added: see error report] Scope and Content Note Henry's Saved. Box 1, Folder 1 Avalanche, Cue 21. [unittitle added: see error report] Scope and Content Note Sleigh Ride. 2. Fire and Ice (1983) Box 1, Folder 2 Fire and Ice. [unittitle added: see error report] Scope and Content Note Music Notes (cue sheets and timings). Box 1, Folder 3 Fire and Ice. [unittitle added: see error report] Scope and Content Note Short score (Photocopy of manuscript, folder 1 of 2). Box 1, Folder 4 Fire and Ice. [unittitle added: see error report] Scope and Content Note Short score (Photocopy of manuscript, folder 2 of 2). Box 1, Folder 5 Fire and Ice. [unittitle added: see error report] Scope and Content Note Short score and sketches (photocopies). Box 1, Folder 6 Fire and Ice. [unittitle added: see error report] Scope and Content Note Full score of cues 7-4/8-0A (bound photocopy). Box 1, Folder 7 Fire and Ice. [unittitle added: see error report] Scope and Content Note Full score of cues 5-5, 22, 32, and 35 (Both manuscript and photocopy). Box 1, Folder 8 Fire and Ice. [unittitle added: see error report] Scope and Content Note Orchestration charts. 3. Bill (1981) (Television Movie) Finding Aid for the William Kraft 74 5 Collection of Musical Compositions , ca. 1974-1983 Series I. Music for Film and Television 3. Bill (1981) (Television Movie) Box 2, Folder 1 Bill. [unittitle added: see error report] Scope and Content Note Music Notes (cue sheets and timings). Box 2, Folder 2 Bill. [unittitle added: see error report] Scope and Content Note Full score of cues 11-13, 21-22, 32, 34, 42, 51, 61-62, 71-74, 91-92, and 101-102 (onion skin). Box 2, Folder 3 Bill. [unittitle added: see error report] Scope and Content Note Full score of cues 11-13, 21-22, 32, and 34 (ozalid copies). Box 2, Folder 4 Bill. [unittitle added: see error report] Scope and Content Note Full score of cues 42, 51, 61-62, 71-74, 91-92, and 101-102 (ozalid copies). Box 2, Folder 5 Bill. [unittitle added: see error report] Scope and Content Note Full score of cues 14 and 15 (ozalid copies). Box 2, Folder 6 Bill. [unittitle added: see error report] Scope and Content Note Orchestration chart. Box 2, Folder 7 Bill. [unittitle added: see error report] Scope and Content Note Orchestral parts (onion skin). Box 2, Folder 8 Bill. [unittitle added: see error report] Scope and Content Note Woodwind parts (manuscripts). Box 2, Folder 9 Bill. [unittitle added: see error report] Scope and Content Note Brass parts (manuscripts). Box 3, Folder 1 Bill. [unittitle added: see error report] Scope and Content Note Parts for percussion, electric bass, and keyboard (manuscripts). Box 3, Folder 2 Bill. [unittitle added: see error report] Scope and Content Note Box 3, Folder 2 Bill.
Load more

Recommended publications
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • 30N2 Programs
    Sonata for Tuba and Piano Verne Reynolds FACULTY/PROFESSIONAL PERFORMANCES The Morning Song Roger Kellaway Edward R. Bahr, euphonium Salve Venere, Salve Marte John Stevens Concerto No. 1 for Hom, Op. 11 Richard Strauss Delta Sate University, Cleveland, MS 10/03/02 Csdrdds Vittorio Monti / arr. Ronald Davis Suite No. IV for Violoncello S. 1010 J.S. Bach Vocalises Giovanni Marco Bordogni Michael Fischer, tuba "Andante maestoso­Andante mosso" Boise State University, Boise, ID WllljOl "Allegro" Central Missouri State University, Warrensburg, MO 11/1/02 (Johannes Rochut: Melodius Etudes No. 79, 24) Pittsburg State University, Pittsburg, KS 11/4/02 Concertino No. I in B­flat, op. 7 .Julius Klengel/an:. Leonard Falcone Romance Op. 36 Camille Saint­Saens/arr. Michael Fischer GranA Concerto Friedebald Grafe Beelzebub Andrea V. Catozzi/arr. Julius S. Seredy Reverie et Balade Rene Mignion Three Romantic Pieces arr. Michael Fischer Danza Espagnola David Uber Du Ring an meinem Finger, Robert Schumann, Op. 42, No. 4 Velvet Brown, tuba Felteinsamkeit, Johannes Brahms Standchen, Franz Schubert *Bowling Green State University, Bowling Green, OH 10/23/02 **Ohio State University, Columbus, OH 10/24/02 Gypsy Songs .Johannes Brahms/arr. by Michael Fischer Sonata Bruce Broughton The Liberation of Sisyphus John Stevens Chant du Menestrel, op. 71 Alexander Glazunov/arr. V. Brown Adam Frey, euphonium Lieder eines fahrenden Gesellen Gustav Mahler/arr. D. Perantoni Mercer University, Macon, GAl0/01/02 *Te Dago Mi for tuba, euphonium and piano (U.S. premiere) Velvet Brown with Benjamin Pierce, euphonium Sormta in F Major.. Benedetto Marcello Blue Lake for Solo Euphonium **Mus!c for Two Big Instruments Alex Shapiro Fantasies David Gillingham Sonata for tuba and piano Juraj Filas Peace John Golland Rumanian Dance No.
    [Show full text]
  • Leo Kraft's Three Fantasies for Flute and Piano: a Performer's Analysis
    CHERNOV, KONSTANTZA, D.M.A. Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) Directed by Dr. James Douglass. 111 pp. The Doctoral Performance and Research submitted by Konstantza Chernov, under the direction of Dr. James Douglass at The University of North Carolina at Greensboro (UNCG), in fulfillment of the requirements for the degree Doctor of Musical Arts, consists of the following: I. Chamber Recital, Sunday, April 27, 2008, UNCG: Trio for Piano, Clarinet and Violoncello in Bb Major, op. 11 (Ludwig van Beethoven) Sonatine for Flute and Piano (Henri Dutilleux) Sonata for Violin and Piano in A Major (César Franck) II. Chamber Recital, Monday, November 17, 2008, UNCG: Sonata for Violin and Piano in g minor (Claude Debussy) El Poema de una Sanluqueña, op. 28 (Joaquin Turina) Sonata for Violin and Piano in A Major, op. 13 (Gabriel Fauré) III. Chamber Recital, Tuesday, April 27, 2010, UNCG: Sonata for Two Pianos in D Major, K. 448 (Wolfgang Amadeus Mozart) The Planets, op. 32: Uranus, The Magician (Gustav Holst) The Planets, op. 32: Neptune, The Mystic (Gustav Holst) Fantasie-tableaux (Suite #1), op. 5 (Sergei Rachmaninoff) IV. Lecture-Recital, Thursday, October 28, 2010, UNCG: Fantasy for Flute and Piano (Leo Kraft) Second Fantasy for Flute and Piano (Leo Kraft) Third Fantasy for Flute and Piano (Leo Kraft) V. Document: Leo Kraft's Three Fantasies for Flute and Piano: A Performer's Analysis. (2010) 111 pp. This document is a performer's analysis of Leo Kraft's Fantasy for Flute and Piano (1963), Second Fantasy for Flute and Piano (1997), and Third Fantasy for Flute and Piano (2007).
    [Show full text]
  • A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby
    A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST 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 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me.
    [Show full text]
  • NON-TRADITIONAL INSTRUMENTS in a TRADITIONAL ROLE THREE•WORKS for PERCUSSION ENSEMBLE SINCE I960 Martha Joy Reeder a Thesis Su
    Non-traditional instruments in a traditional role: three works for percussion ensemble since 1960 Item Type text; Thesis-Reproduction (electronic) Authors Reeder, Martha Joy Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:12:36 Link to Item http://hdl.handle.net/10150/557382 NON-TRADITIONAL INSTRUMENTS IN A TRADITIONAL ROLE THREE•WORKS FOR PERCUSSION ENSEMBLE SINCE i960 by Martha Joy Reeder A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of ' MASTER OF MUSIC WITH A MAJOR IN MUSIC THEORY In the Graduate College THE.UNIVERSITY OF,ART ZONA 1 9 8 0 STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. - : Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­ mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the music department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of Scholarship.
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
    Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched.
    [Show full text]
  • Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
    [Show full text]
  • 053479218025.Pdf
    The Year BeforE Yesterday Los Angeles Percussion Quartet FORE! - William Kraft 1. First Round - 7:12 2. Second Round: Farnsworth Park at Twilight - 2:48 3. Third Round - 2:45 4. THE YEAR BEFORE YESTERDAY - Shaun Naidoo - 9:16 Give us this day - Erik Griswold 5. Rise Up - 4:05 6. Breathe - 5:22 7. Cold Steel - 4:39 8. Alone - 3:18 9. Punch the Sky - 3:32 10. Mallet Quartet - Joseph Pereira - 8:23 11. blindnesses - Isaac Schankler - 8:07 12. Lullaby 5 - Nicholas Deyoe - 12:52 Total Time: 72:19 FORE! - William Kraft Mallet Quartet - Joseph Pereira The title “Fore!” was first put on the title page as a temporary title, but the alliteration in the different spellings: I have always found it fascinating to discover ways to manipulate sound--how notes are played and more fore, for, four, gradually gained prominence in my thinking. “Fore for Four” engaged my sense of humor and importantly what happens after you play them and how they resonate or speak in different ways. My Mallet wouldn’t let go. Quartet (2013), written for the Los Angeles Percussion Quartet, for two vibraphones and two marimbas, attempts to consider all elements of sound on these instruments. Each pitch is considered on its own as a Since so much of the emphasis was in the keyboard instruments – vibraphone, marimba and chimes – I scale, of many timbral particles waiting to be examined. For the most part the focus is on the resonances, thought of the piece as chamber music rather than one for percussion.
    [Show full text]
  • Aura · Marea · Related · Rocks
    MAGNUS LINDBERG AURA · MAREA · RELATED · ROCKS FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG MAGNUS LINDBERG (1958) Aura (1993–94) 38:33 In memoriam Witold Lutosławski 1 I 13:45 2 II 12:06 3 III 6:51 4 IV 5:50 5 Related Rocks (1997) 16:15 For Two Pianos, Two Percussionists and Electronics 6 Marea (1989–90) 11:52 Emil Holmström & Joonas Ahonen, piano & keyboards (5) Jani Niinimäki & Jerry Piipponen, percussions (5) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 3 Magnus Lindberg: Aura; Related Rocks; Marea The output of Magnus Lindberg reached its first grand culmination in the explosive and colossal orchestral work Kraft (1983–1985), where he drove to extremes the rough-hewn modernism characterising his early output, “combining the hyper- complex with the primitive,” as he himself put it. The aftershocks of Kraft gave birth to the edgy and aggressive UR for chamber ensemble and electronics (1986), but after that Lindberg felt that he had come to the end of this path. The transition was underlined by a severe tropical disease which he contracted on holiday and which prevented him from working for 18 months. Having returned to the drawing board, so to speak, Lindberg began to explore new ideals. The most substantial change occurred in his harmonic thinking. Lindberg described his new approach as “reflecting a tightly structured harmonic model against a kind of natural way of hearing and organising harmony, based on the overtone series,” or, in other words, a merger of serialist and spectral approaches. This new style translated into a more nuanced palette of sonorities, clear-cut textural designs and more determinedly dramaturgical processes.
    [Show full text]