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College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
Wind Ensemble Repertoire
UNCG Wind Ensemble Programming April 29, 2009 Variations on "America" ‐ Charles Ives, arr. William Schuman and William Rhoads Symphonic Dances from West Side Story Leonard Bernstein, arr. Paul Lavender Mark Norman, guest conductor Children's March: "Over the Hills and Far Away” Percy Grainger Kiyoshi Carter, guest conductor American Guernica Adolphus Hailstork Andrea Brown, guest conductor Las Vegas Raga Machine Alejandro Rutty, World Premiere March from Symphonic Metamorphosis Paul Hindemith, arr. Keith Wilson March 27, 2009 at College Band Directors National Association National Conference, Bates Recital Hall, University of Texas at Austin Fireworks, Opus 8 Igor Stravinsky, trans. Mark Rogers It perched for Vespers nine Joel Puckett Theme and Variations, Opus 43a Arnold Schoenberg Shadow Dance David Dzubay Commissioned by UNCG Wind Ensemble Four Factories Carter Pann Commissioned by UNCG Wind Ensemble FuniculiFunicula Rhapsody Luigi Denza, arr. Yo Goto February 20, 2009 Fireworks, Op. 4 Igor Stravinsky, trans. Mark Rogers O Magnum Mysterium Morten Lauridsen H. Robert Reynolds, guest conductor Theme and Variations, Op. 43a ‐ Arnold Schoenberg Symphony No. 2 Frank Ticheli Frank Ticheli, guest conductor December 3, 2008 Raise the Roof ‐ Michael Daugherty John R. Beck, timpani soloist Intermezzo Monte Tubb Andrea Brown, guest conductor Shadow Dance David Dzubay Four Factories Carter Pann FuniculiFunicula Rhapsody Luigi Denza, arr. Yo Goto October 8, 2008 Fireworks, Opus 8 ‐ Igor Stravinsky, trans. Mark Rogers it perched for Vespers nine Joel Puckett Theme and Variations, Op. 43a Arnold Schoenberg Fantasia in G J.S. Bach, arr. R. F. Goldman Equus ‐ Eric Whitacre Andrea Brown, guest conductor Entry March of the Boyars Johan Halvorsen Fanfare Ritmico ‐ Jennifer Higdon May 4, 2008 Early Light Carolyn Bremer Icarus and Daedalus ‐ Keith Gates Emblems Aaron Copland Aegean Festival Overture Andreas Makris Mark A. -
Booklet 125X125.Indd
1 2 3 CONTENTS A RECORDED HISTORY Philip Stuart 7 REMINISCENCES BY LADY MARRINER 18 A FEW WORDS FROM PLAYERS 21 HISTORY OF THE ACADEMY OF SAINT MARTIN IN THE FIELDS Susie Harries (née Marriner) 36 CD INFORMATION 44 INDEX 154 This Edition P 2020 Decca Music Group Limited Curation: Philip Stuart Project Management: Raymond McGill & Edward Weston Digital mastering: Ben Wiseman (Broadlake Studios) TH 60 ANNIVERSARY EDITION Design & Artwork by Paul Chessell Special thanks to Lady Marriner, Joshua Bell, Marilyn Taylor, Andrew McGee, Graham Sheen, Kenneth Sillito, Naomi Le Fleming, Tristan Fry, Robert Smissen, Lynda Houghton, Tim Brown, Philip Stuart, Susie Harries, Alan Watt, Ellie Dragonetti, Gary Pietronave (EMI Archive, Hayes) 4 5 A RECORDED HISTORY Philip Stuart It all started with L’Oiseau-Lyre - a boutique record label run by a Paris-based Australian heiress who paid the players in cash at the end of the session. The debut LP of Italianate concerti grossi had a monochrome photograph of a church porch on the cover and the modest title “A Recital”. Humble beginnings indeed, but in 1962 “The Gramophone” devoted a full page to an enthusiastic review, concluding that it was played “with more sense of style than all the chamber orchestras in Europe put together”. Even so, it was more than a year before the sequel, “A Second Recital”, appeared. Two more such concert programmes ensued [all four are on CDs 1-2] but by then the Academy had been taken up by another label with a shift in policy more attuned to record collectors than to concert goers. -
Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia Austéra (1953–55, Rev
WORKS BY PER NØRGÅRD Works for Orchestra Preludio (1950–51) Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia austéra (1953–55, rev. 1956) Bright Dances (1959) Fragment VI (1959–61) The Young Man Is Getting Married (1964–68) Le jeune homme à marier — Suite (1965) Composition for Orchestra (1966) Töne vom Hernst (1966) Iris (1966–67, rev. 1968) Luna, Four Phases for Orchestra (1967) Århus’ tapre skrædder (1968) Voyage into the Golden Screen (1968) The Man Who Thought Things (1969) Tango Chikane (chamber orchestra version) (1969) Symphony No. 2, in one movement (1970, rev. 1971) Symphony No. 3, in two movements (1972–75) Dream Play (1975, rev. 1980) Twilight (1976–77, rev. 1979) Towards Freedom? (1977) Symphony No. 4, Indian Rose Garden and Chinese Witch Sea (1981) Surf (1983) Burn (1984) Symphony No. 5 (1990, rev. 1991) Spaces of Time (1991) Night-Symphonies, Day Breaks (1991–92) Fugitive Summer (1992) Out of This World — Hommage à Lutosławski (1994) Four Observations — From an Infinite Rapport. Hommage à Bartók (1995) Tributes — Album for strings (1995) Voyage into the Broken Screen, Hommage à Sibelius (1995) Aspects of Leaving (1997) (more) Symphony No. 6, At the End of the Day (1997–99, rev. 2000) Terrains Vagues (2000) Intonation/Detonation (2001) Symphony No. 7 (2004–06) Lysning (Glade) (2006) Symphony No. 8 (2010–11) Works for Soloist(s) and Orchestra Rhapsody — in D (for piano) (1952) Concerto for Piano and Orchestra (1955–58) Nocturnes, Fragment VII (for soprano) (1961–62) Three Love Songs (for alto) (1963) Recall — Concerto for Accordion (1968) For a Change — Percussion Concerto No. -
James Dick Press Kit
James Dick Press Kit Information and Booking – Jan Lehman – 512.478.1131 TABLE OF CONTENTS Cover….................................................…......................................................... 1 Table of Contents....................................…........................................................ 2 Biography................................................…........................................................ 3 Grey-Scale Photo...................................…........................................................ 4 References and Reviews........................…........................................................ 5 Concerto and Solo Repertoires …............…........................................................ 6 Chamber Music and Recordings............…........................................................ 7 Information and Booking – Jan Lehman – 512.478.1131 BIOGRAPHY Recognized as one of the truly important pianists of his generation, internationally renowned concert pianist and Steinway artist James Dick brings keyboard sonorities of captivation, opulence and brilliance to performances that radiate intellectual insight and emotional authenticity. Raised in Hutchinson Kansas, his talent moved him from the farm to the University of Texas Music Building and out to the world's great concert halls. He received a scholarship to the University of Texas in Austin, studying with Dalies Frantz. Later, he was a Fulbright Scholar and studied with Sir Clifford Curzon in England. Dick's early triumphs as a major -
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P. Bolstad, conductor Symphony Band – Stephen P. Bolstad, conductor Concert Band – Scott D. Rikkers, conductor Wind Symphony, Stephen P. Bolstad, conductor October 7, 2007 Wiener Philharmoniker Fanfare (1924) – Richard Strauss Serenade in E flat major, Op. 7 (1881) – Richard Strauss Dance of the Jesters (1868) – Tchaikovsky/Cramer Prelude in E flat minor, Op. 34, No. 14 (1933) – Shostakovich/Reynolds Redline Tango (2004) – John Mackey Fantasia in G Major (ca. 1705) – Bach/Goldman & Leist Bells for Stokowski (2003) – Michael Daugherty Symphonic Band & Concert Band Stephen P. Bolstad & Scott Rikkers, conductors October 11, 2007 Concert Band Alleluia! Laudamus Te (1973) – Alfred Reed Be Thou My Vision (1998) – David Gillingham Rakes of Mallow (1947) – Leroy Anderson Symphonic Band Esprit De Corps (1985) – Robert Jager A Movement for Rosa (1992) – Mark Camphouse Illyrian Dances (1986) – Guy Woolfenden Russian Sailor’s Dance (1927) – Gliere/ Leidzen Wind Symphony, Stephen P. Bolstad, conductor JMU Chorale, Patrick M. Walders, conductor & JMU Symphony Orchestra Strings, Robert D. McCashin, conductor October 26, 2007 Portraits in Bluestone (2007) – Brian Balmages World Premiere Wind Symphony, Stephen P. Bolstad, conductor November 11, 2007 (Veteran’s Day) The Star Spangled Banner – Arr. by Luigi Zaninelli Profanation from “Jeremiah, Symphony No. 1” (1942) – Bernstein/Bencriscutto The Leaves Are Falling (1964) – Warren Benson Lincolnshire Posy (1937) – Percy Grainger J’ai été au bal (1999) – Donald Grantham Battle Hymn of the Republic – Arr. by Luigi Zaninelli All-Bands Concert, Stephen P. Bolstad, Scott Rikkers, conductors December 9, 2007 Concert Band Marche Des Parachutistes Belges (1945) – Leemans/Wiley Blessed Are They from “German Requiem” (1865) – Brahms/Buehlman Escape from “Plato’s Cave!” (1993) – Stephen Melillo Symphonic Band Second Suite in F for Military Band (1911) – Gustav Holst La Fiesta Mexicana (1949) – H. -
February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G. -
Winterspell Playlist 1. Sweet Dreams
Winterspell Playlist 1. Sweet Dreams (Are Made of This) – Sucker Punch – performed by Emily Browning 2. Towers of the Void – Red Riding Hood – Brian Reitzell 3. Is It Poison, Nanny – Sherlock Holmes – Hans Zimmer 4. Dyslexia – Percy Jackson & the Olympians – Christophe Beck 5. Maria Redowa – Little Women – Thomas Newman 6. La Fayette’s Welcome – Little Women – Thomas Newman 7. Port Royal Gallop – Little Women – Thomas Newman 8. Dead Sister – Red Riding Hood – Brian Reitzell & Alex Heffes 9. The Dance – Emma – Rachel Portman 10. Tavern Stalker – Red Riding Hood – Brian Reitzell & Alex Heffes 11. Wolf Attack Suite – Red Riding Hood – Brian Reitzell & Alex Heffes 12. Then Came the Purge – Underworld: Awakening – Paul Haslinger 13. The Wolve’s Den – Underworld: Rise of the Lycans – Paul Haslinger 14. The Lycan Van Escape – Underworld: Awakening – Paul Haslinger 15. Wtf – Green Zone – John Powell 16. Mike to Tavern – Underworld: Evolution – Marco Beltrami 17. Darkness Deep Within – Underworld – Paul Haslinger 18. Teahouse – The Matrix Reloaded – Juno Reactor and Gocoo 19. To Jerusalem – Kingdom of Heaven – Harry Gregson-Williams 20. Jean and Logan – X-Men: The Last Stand – John Powell 21. Dissolve – The Book of Eli – Atticus Ross 22. Pier 17 – The Adjustment Bureau – Thomas Newman 23. Blind Faith – The Book of Eli – Atticus Ross 24. Richardson – The Adjustment Bureau – Thomas Newman 25. The Journey – The Book of Eli – Atticus Ross 26. Mt. Grimoor – Red Riding Hood – Brian Reitzell & Alex Heffes 27. The Arrow Attack – Underworld: Rise of the Lycans – Paul Haslinger 28. Corvinus – Underworld – Paul Haslinger 29. Subterrania – Underworld – Paul Haslinger 30. A Thorough Education – Jane Eyre – Dario Marianelli 31. -
Focus Day 2011: Five Decades of New Music for Percussion: 1961
Focus Day 2011 Five Decades of New Music for Percussion: 1961–2011 In celebration of the 50th Anniversary of the Percussive Arts Society, the New Music/Research Focus Day 2011 Committee is extremely excited to present Focus Day 2011: Five Decades of New Music for Percussion. Featuring masterworks of the last fifty years of our repertoire performed by some of the most significant artists of our generation, Focus Day 2011 marks a monumental achievement for the Percussive Arts Society and its membership. As the Percussive Arts Society as a whole cel- ebrates its 50th anniversary, it is fitting that the New Music Research Committee is celebrating the “Five Decades of New Music for th 25 Anniversary of Focus Day (formerly New Music/Research Day) at PASIC. Since its founding by Stuart Smith in 1986, the mission of the New Music/Research Committee has been to present creative, innovative, and imaginative programming that exposes new compositional trends while Percussion 1961–2011” maintaining connections to the historically significant composers and performers of our field who together shaped the contemporary art-form of new music for percussion. Certainly, Focus Day 2011 defines this mission in every way. Many of the major masterworks by the most important composers of our field from 1961–2011 will be presented throughout the day, including works from Mark Applebaum, Herbert Brün, Michael Colgrass, Christopher Deane, Morton Feldman, Brian Ferneyhough, Michael Gordon, David Lang, Steve Reich, Paul Smad- beck, Stuart Smith, Karlheinz Stockhausen, Gordon Stout, Michael Udow, Julia Wolfe, and Ian- nis Xenakis. The New Music Research Committee also encourages the presentation of new and previously unknown works at PASIC, and we are delighted that Focus Day 2011 will include two PASIC Premieres—a unique new composition by Judith Shatin, and a truly epic new percussion ensemble work by one of the leading composers of our time, James Wood. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Vicki Hiatt Music Supervisor / Editor
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM TOP GUN: MAVERICK Jerry Bruckheimer, Tom Cruise, David Ellison, Paramount Pictures prods. Music Editor Joseph Kosinski, dir. THE BAD GUYS Aaron Blabey, Patrick Hughes, Damon Ross, Dreamworks Animation exec prods. Music Editor GO KARTS Sonia Borella, Jamie Hilton, prods. Netflix Owen Trevor, dir. Music Editor MONSTER ON THE HILL Brad Booker, Sandra Rabbins, prods. Paramount Pictures Animation Bradley Raymond, dirs. Music Editor SUPER PETS Patty Hicks, prod. Warner Bros. Pictures Samm Levine, Jared Stern, dirs. Music Editor THE EXTINCTS David Lipman, Michael Siegel, prods. Starling Entertainment William Joyce, dir. Music Editor ABOMINABLE Jane Hartwell, Lisa Stewart, prods. Dreamworks Animation Jill Culton, dir. Music Editor SPACE MONKEY PRINCE Debbie Vercilino, Chuck Williams, prods. Music Editor John Davis, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR PLAYMOBIL: THE MISSING PIECE Moritz Borman, Dimitri Rassam, Aton ON Animation Studios / Wild Bunch Soumache, Alexis Vonarb, prods. Music Editor Lino DiSalvo, dir. THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. Music Editor Henry Wu, dir. HALF MAGIC Alex Wurman, Composer Magic Bubble Productions Bill Sheinberg, prod. Music Consultant Heather Graham, dir. HOW TO TRAIN YOUR DRAGON 3 John Powell, Composer DreamWorks Animation Bonnie Arnold, prod.