2016/2017 Annual Report Contents
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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
The Influence of Multiculturalism on Canadian Contemporary Art Music
Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7403–7406 Selected Papers of Beijing Forum 2004 The Influence of Multiculturalism on Canadian Contemporary Art Music Stephen Chatman Professor, School of Music, University of British Columbia Given the Beijing Forum 2004 theme of “Harmony and Prosperity of the Civilizations,” I have chosen a subject on art, which I believe illustrates a significant aspect of international harmony, communication, and synthesis of civilizations. As an introduction, a brief background on Canadian history and culture may be useful: Having gained confederation in 1867, Canada is a very young nation. As a country in the “new world”, Canada has always been a land of both immigrants and aboriginal “first nations” people. Historically, Canadian culture often has been defined as a Canadian “mosaic” (as opposed to the American “melting pot” concept), that is, a constantly evolving fabric of distinctly defined traditions, language, and art, often preserved or sanctioned by Canadian society and government. This Canadian “mosaic” is changing and has been shaped especially by assimilation, immigration, geography, demographics, and other cultural and political issues. Originally settled by primarily British, French and American immigrants, Canada’s languages (officially English and French), culture, moral values, and political system reflect its early heritage. Throughout the 19th and early 20th centuries, new waves of immigration continued—Irish, German, Scandinavian, Russian, Ukrainian, Eastern and Southern European, Chinese, Japanese, and East Indian people immigrated in ever increasing numbers. A high level of immigration, recently much more racially and geographically diverse, has continued into the 21st century, resulting in a truly multicultural and racially tolerant land. -
A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney
University of Dayton eCommons Honors Theses University Honors Program Spring 4-2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Erick C. Von Sas University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses Part of the Music Commons eCommons Citation Von Sas, Erick C., "Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney" (2014). Honors Theses. 5. https://ecommons.udayton.edu/uhp_theses/5 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Patrick Reynolds, Ph.D., Associate Professor of Music April, 2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Dr. Patrick Reynolds, Associate Professor of Music April, 2014 Abstract This research project examines music by twentieth-century American composers Michael Colgrass, Joseph Schwantner, and Ross Lee Finney in order to compare how different composers present an aural conception to their audience through the wind ensemble medium. An aural conception is the subject upon which the music is commenting; sight (subject) through sound. The study includes an analysis of soundscapes- collections of sounds that form an acoustic representation of an action or object- in works created by Colgrass, Schwantner, and Finney. -
Soundstreamscatalogue Lowr
LAWRENCE CHERNEY Artistic Director Directeur Artistique CHRIS LORWAY Executive Director Directeur Général JORGE AYALA Digital Community Manager Gestion des Communications Numériques SARAH BAUMANN Director of Marketing & P.R. STAFF Directrice, Marketing et Relations Publiques KYLE BRENDERS Artistic Associate Adjoint Artistique AMBER EBERT Outreach Programs Manager Gestion des Programmes de Diffusion CHRISTINA NIEDERWANGER Director of Development Directrice du Développement CAITLIN WELD Associate Producer Productrice Adjointe Lawrence Cherney, ARTISTIC DIRECTOR NEW DIRECTIONS IN MUSIC JORGE AYALA Digital Community Manager Gestion des Communications Numériques SARAH BAUMANN Director of Marketing & P.R. Directrice, Marketing et Relations Publiques SOUNDSTREAMS CATALOGUE KYLE BRENDERS Artistic Associate Commissioned Works Adjoint Artistique 1982-2012 AMBER EBERT Outreach Programs Manager Gestion des Programmes de Diffusion CHRISTINA NIEDERWANGER NEW DIRECTIONS IN MUSIC Director of Development Directrice du Développement CAITLIN WELD Associate Producer Productrice Adjointe PREFACE The works in this catalogue represent thirty years The catalogue’s purpose is not to sell the works it lists of commissions by Soundstreams, an organization but to promote them. Many of these compositions have dedicated to the creation and performance of new been heard only once; we seek to begin remedying that musical compositions. Naturally, each individual work situation by opening a dialogue about them, so please included here embodies its composer’s distinct voice feel free to contact us at Soundstreams. We are proud to and style; yet taken as a whole, the collection also present this unique compendium of musical excellence, reflects the particular aesthetic of Soundstreams and we invite you to help us bring these remarkable Artistic Director Lawrence Cherney. Listen to several works to the much wider audience that they deserve. -
Redefining the Boundaries of Middle Level Band Technique” Composer Michael Colgrass, Clinician Featuring Dr
“Redefining the Boundaries of Middle Level Band Technique” Composer Michael Colgrass, Clinician Featuring Dr. Janet Barrett, Northwestern University2004 Midwest Clinic 58th Annual Conference Hilton Chicago, Chicago, Illinois 2:30 - 3:30 pm December 15, 2004 Sponsored by the American Composers Forum Michael Colgrass’ work with a middle-level band through BandQuest reflects the notion that composing is a sure way to promote music literacy and in-depth musical understanding and to get students comfortable with the composing process. By starting with musical works of high quality for use as centerpieces for curriculum development, the BandQuest curriculum is founded on the premise that music teachers can develop and use a comprehensive curriculum to teach middle-level band. Composer Michael Colgrass contributed a unique work to the BandQuest Series that both challenges and inspires us. As a centerpiece, his work complements multiple musical traditions and links to ideas outside of music, which provides the elements for in-depth study, toward for greater understanding and a richer performance of the work. This approach holds particular promise for accommodating diverse learning styles and appealing to the eclectic interests of middle school students. Old Churches by Michael Colgrass Gregorian chant is one of the earliest forms of notated music using free flowing rhythms and simple melodies. When Michael Colgrass worked on this piece in his residency, he explored graphic notation with students. He asked individuals to create their own unique notations on a blackboard and then invited the whole class to play what they thought it should sound like. In Old Churches, Colgrass uses the elements of Gregorian chant and graphic notation to create an aura of voices echoing in a monastery. -
Journal of the American Viola Society Volume 16 No. 3, 2000
JOURNAL of the AlVlERICAN VIOLA SOCIETY Section of THE I NTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 16 No.3 2000 FEATURES Joseph Schuberr's Concerto in £-Flat Major By Andrew Levin Cultivating a Private Srudio By Christine Due Orchestral Training Forum: "Wagner's Overtures to Tannhiiuser" By Charles R. Pikfer A Thumb's Decline: To Fuse or Not to Fuse By Dan Whitman From the NS Presidency: "Linkoping Congress Review" By Dwight Pounds OFFICERS Peter Slowik President Professor ofViola Oberlin College Conservatory 13411 Compass Point Strongsville, OH 44136 peter. slowik@oberlin. edu William Preucil II Vice President 317 Windsor Dr. I Iowa City, /A 52245 Catherine Forbes Secretary 1128 Woodland Dr. Arlington, TX 76012 Ellen Rose Treasurer 2807 Lawtherwood Pl. Dallas, TX 75214 Thomas Tatton Past President 7511 Parkwoods Dr. Stockton, C4 95207 BOARD Victoria Chiang Donna Lively Clark Paul Coletti Ralph Fielding Pamela Goldsmith john Graham Barbara Hamilton ~....:::::=:-~-=~11 Karen Ritscher Christine Rutledge -__ -==~~~ ji Kathryn Steely - ! juliet White-Smith Louise Zeitlin EDITOR, JAYS Kathryn Steely Baylor University P.O. Box 97408 "Waco, TX 76798 PAST PRESIDENTS Myron Rosenblum (1971-1981) Maurice W. Riley (1981-1986) David Dalton (1986-1990) Alan de Veritch (1990-1994) HONORARY PRESIDENT William Primrose (deceased) ~ Section ofthe Internationale Viola Society The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at A-R Editions in Madison, Wisconsin. © 2000, American Viola Society ISSN 0898-5987 ]AVS welcomes letters and articles from its readers. Editor: Kathryn Steely Assistant Editor: Jeff A. Steely Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: A-R Editions, Inc. -
NORTHERN WINDS Globe and Mail for His “Effortless Virtuosity” in Contemporary Music, He Has Given the Performance of Several Masterpieces
572248 bk NW 10/31/08 1:21 PM Page 5 Simon Docking Toronto Wind Orchestra WIND BAND CLASSICS Australian-born pianist Simon Docking has performed both as a soloist and chamber Toronto Wind Orchestra was founded in 1994 by Dr Mark Hopkins, assisted by Tony Gomes, with a mission to give musician throughout North America, as well as in Australia, New Zealand, Malaysia and professional performances of rare and unusual wind repertoire. In 1999 Tony Gomes assumed the position of Music Europe. He studied piano in Australia with Ransford Elsley, and holds a doctorate in piano Director of the ensemble. Toronto Wind Orchestra includes some of Toronto’s finest freelance performers who performance from SUNY Stony Brook, where he worked with Gilbert Kalish, and upon work in musical theatre, orchestras and the many chamber ensembles that make the Toronto music scene so vibrant graduation was awarded New York State’s Thayer Fellowship for the Arts. Praised by the and exciting. The Toronto Wind Orchestra has given Toronto premières of at least a dozen major works, and revived NORTHERN WINDS Globe and Mail for his “effortless virtuosity” in contemporary music, he has given the performance of several masterpieces. Since its inception, Canadian music has been central to Toronto Wind premières of dozens of new pieces, and collaborated with many composers from around Orchestra programming. Over the past dozen years, Toronto Wind Orchestra concerts have included Canadian wind the world, including Anne Boyd, Andrew Ford, Elliott Gyger, Matthew Hindson, Peter ensemble pieces such as Allan Bell’s From a Chaos to the Birth of a Dancing Star, Phil Nimmons’ Riverscape, Messiaen • Applebaum • Colgrass Sculthorpe and Ian Shanahan (Australia), Daniel Koontz, Eric Moe, Ralph Shapey and Michael Colgrass’ Old Churches, Oscar Peterson’s Place St. -
Jules Léger Prize | Prix Jules-Léger
Jules Léger Prize | Prix Jules-Léger Year/Année Laureates/Lauréats 2020 Kelly-Marie Murphy (Ottawa, ON) Coffee Will be Served in the Living Room (2018) 2019 Alec Hall (New York, NY) Vertigo (2018) 2018 Brian Current (Toronto, ON) Shout, Sisyphus, Flock 2017 Gabriel Turgeon-Dharmoo (Montréal, QC) Wanmansho 2016 Cassandra Miller (Victoria, BC) About Bach 2015 2015 Pierre Tremblay (Huddersfield, UK) Les pâleurs de la lune (2013-14) 2014 Thierry Tidrow (Ottawa, ON) Au fond du Cloître humide 2013 Nicole Lizée (Lachine, QC) White Label Experiment 2012 Zosha Di Castri (New York, NY) Cortège 2011 Cassandra Miller (Montréal, QC) Bel Canto 2010 Justin Christensen (Langley, BC) The Failures of Marsyas 2009 Jimmie LeBlanc (Brossard, QC) L’Espace intérieur du monde 2008 Analia Llugdar (Montréal, QC) Que sommes-nous 2007 Chris Paul Harman (Montréal, QC) Postludio a rovescio 2006 James Rolfe (Toronto, ON) raW 2005 Linda Catlin Smith (Toronto, ON) Garland 2004 Patrick Saint-Denis (Charlebourg, QC) Les dits de Victoire 2003 Éric Morin (Québec, QC) D’un château l’autre 2002 Yannick Plamondon, (Québec, QC) Autoportrait sur Times Square 2001 Chris Paul Harman (Toronto, ON) Amerika Canada Council for the Arts | Conseil des arts du Canada 1-800-263-5588 | canadacouncil.ca | conseildesarts.ca 2000 André Ristic (Montréal, QC) Catalogue 1 (bombes occidentales) 1999 Alexina Louie (Toronto, ON) Nightfall 1998 Michael Oesterle (Montréal, QC) Reprise 1997 Omar Daniel (Toronto, ON) Zwei Lieder nach Rilke 1996 Christos Hatzis (Toronto, ON) Erotikos Logos 1995 John Burke (Toronto, ON) String Quartet 1994 Peter Paul Koprowski (London, ON) Woodwind Quintet 1993 Bruce Mather (Montréal, QC) YQUEM 1992 John Rea (Outremont, QC) Objets perdus 1991 Donald Steven (Montréal, QC) In the Land of Pure Delight 1989 Peter Paul Koprowski (London, ON) Sonnet for Laura 1988 Michael Colgrass (Toronto, ON) Strangers: Irreconcilable Variations for Clarinet, Viola and Piano 1987 Denys Bouliane (Montréal, QC) À propos.. -
The World of Paul Hindemith Midori Koga, Piano Teng Li, Viola Wallace Halladay, Saxophone and Guest Chelsea Shanoff, Saxophone
FACULTY OF MUSIC Thursday, March 18, 2010 12:10 pm. Walter Hall THURSDAYS AT NOON Potpourri: The World of Paul Hindemith Midori Koga, piano Teng Li, viola Wallace Halladay, saxophone and guest Chelsea Shanoff, saxophone Konzertstück for two alto saxophones (1933) Paul Hindemith Lebhaft (1862-1918) Mäßig langsam - Lebhaft Sonata for alto saxophone (Althorn) and piano (1943) Ruhig bewegt Lebhaft Sehr langsam Lebhaft Sonata for viola, op. 25, no. 1 (1922) Breit viertel Sehr frisch und straff Sehr langsam Rasendes zeitmaß. Wild. Tonschönheit ist nebensache Langsam, aber mit viel Ausdruck Trio for piano, viola, and tenor saxophone, op. 47 (1928) Part I: Solo, Arioso, Duett Part II: Potpourri I. Schnelle Halbe II. Lebhaft. Ganze Takte III. Schnelle Halbe IV. Prestissimo NEXt On THURSDAYs At NOON April 1 Tunes and Sonorities Camille Watts, flute; Sarah Jeffrey, Oboe; Lori Gemmell, harp Toru Takemitsu: Eucalypts II; Alberto Ginastera: Duo; 09|10 Bruce Mather: Vouvray; George Rochberg: Slow Fires of Autumn www.music.utoronto.ca Das PosthorN This dialogue traditionally precedes the fourth movement of the Sonata for Alto Horn and Piano (1943). Hornist: Tritt uns, den Eiligen, des Hornes Klang Is not the sounding of a horn to our busy souls nicht (gleich dem Dufte längst verwelkter Blüten, (even as the scent of blossoms wilted long ago, gleich brüchigen Brokats entfärbten Falten, or the discolored folds of musty tapestry, gleich mürben Blättern früh vergilbter Bände) or crumbling leaves of ancient yellowed tomes) als tönender Besuch aus jenen Zeiten nah, like a sonorous visit from those ages da Eile war, wo Pferde im Galopp sich mühten, which counted speed by straining horses’ gallop, nicht wo der unterworfene Blitz in Drähten sprang; and not by lightning prisoned up in cables; da man zu leben und zu lernen das Gelände and when to live and learn they ranged the countryside, durchjagte, nicht allein die engbedruckten Spalten. -
Final Frontiers
~~YB 9CJ:::Ao School of Music 5 75 2005-2006 - presents FINAL FRONTIERS with UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy O. Salzman, conductor UNNERSITY OF WASHINGTON CONCERT BAND UNIVERSITY OF WASHINGTON CAMPUS BAND UNIVERSITY OF WASHINGTON SYMPI-IONIC BAND J. Bradley McDavid, conductor' May 25, 2006 7:30PM MEANY THEATER UNIVERSITY OF WASHINGTON WIND ENSEMBLE CD.:tF 151 2-0 I Timothy O. Salzman, conductor ill FINISH LINE (2006) .......... ~:t.?:.~ ......................................................................................... CINDY McTEE (b. 1953) lZJ (OWl~T'Sf Sqlz-VY\C<..V\ 0,'(/0 ScottFry,conductor lJJ ARCTIC DREAMS (1991) ..................................... ?~(Qf.:........................................... MICHAEL COLGRASS (b. 1932) UNIVERSITY OF WASHINGTON CONCERT BAND . 8; 33 t!J BALLAD (1946) ............................................................................................................. MORTON GOULD (1913-1996) Paul Bain, conductor • ~'03 lbJ CHESTER (1956) ..................... : ................................................................................ WILLIAM SCHUMAN (1910-1992) Scott Fry, conductor UNIVERSITY OF WASHINGTON CAMPUS BAND [] CHORALE PRELUDE: TURN NOT THY FACE (1967) .......~.~!.~ ............................. VINCENTPERSICHETIl (1915-1987) Margaret Y oung-Weitzel, conductor (1' ~1 1:B CHORALE AND SHAKER DANCE (l971).................... L ......................................................... JOHN ZDECHLIK (b. 1937) Thomas Slabaugh II, conductor . UNIVERSITY OF WASHINGTON -
ANNUAL SEMINAR on CONTEMPORARY MUSIC for the YOUNG April 9 – 11, 2021 Keeril Makan, Commissioned Composer
42nd ANNUAL SEMINAR ON CONTEMPORARY MUSIC FOR THE YOUNG April 9 – 11, 2021 Keeril Makan, Commissioned Composer THE RIVERS SCHOOL CONSERVATORY Gabriella Sanna, Director Lindsey Robb, Assistant Director Ethel Farny, Seminar Chair A. Ramón Rivera, Director Emeritus 333 WINTER STREET, WESTON, MA 02493 WWW.RIVERSSCHOOLCONSERVATORY.ORG | 781-235-6840 i T became clear t H at i should stay in E urope not kill M yself by going back and forth across the ocean b U t I couldn't get out of that engagement in we S ton Massachusetts "three hundred ch I ldren devoted to modern musi C " I couldn't believe it S o instead of going from rome to C ologne i H ad t O cr O ss the ocean two extra times and here I am seventy years o L d but I don't regret it the children pl A yed beau T ifully and the pa R ents were w I de awake the day remains V ividly in my mind the school n E eds suppo R t here' S hoping they get it! John Cage Seminar Guest 1983 THE RIVERS SCHOOL CONSERVATORY The 42nd Annual Seminar on Contemporary Music for the Young April 9, 10, & 11, 2021 Gabriella Sanna, Director, The Rivers School Conservatory Chair, Rivers Performing Arts Department A. Ramón Rivera, Director Emeritus Lindsey Robb, Assistant Director Ethel Farny, Seminar Chair The Rivers School Conservatory 333 Winter Street, Weston, Massachusetts 781-235-6840 www.riversschoolconservatory.org THE SEMINAR ON CONTEMPORARY MUSIC FOR THE YOUNG This year Seminar concerts will be presented in two forms: live-streamed and virtual. -
Other Minds Records
http://oac.cdlib.org/findaid/ark:/13030/c8wq0984 Online items available Guide to the Other Minds Records Alix Norton, Jay Arms, Madison Heying, Jon Myers, and Kate Dundon University of California, Santa Cruz 2018 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Guide to the Other Minds Records MS.414 1 Contributing Institution: University of California, Santa Cruz Title: Other Minds records Creator: Other Minds (Organization) Identifier/Call Number: MS.414 Physical Description: 399.75 Linear Feet (404 boxes, 15 framed and oversized items) Physical Description: 0.17 GB (3,565 digital files, approximately 550 unprocessed CDs, and approximately 10 unprocessed DVDs) Date (inclusive): 1918-2018 Date (bulk): 1981-2015 Language of Material: English https://n2t.net/ark:/38305/f1zk5ftt Access Collection is open for research. Audiovisual media is unavailable until reformatted. Digital files are available in the UCSC Special Collections and Archives reading room. Some files may require reformatting before they can be accessed. Technical limitations may hinder the Library's ability to provide access to some digital files. Access to digital files on original carriers is prohibited; users must request to view access copies. Contact Special Collections and Archives in advance to request access to audiovisual media and digital files. Publication Rights Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner.